Outputting Timecode

Hi All. I'm readying a program for output, but I can't seem to get my deck (actually my camera, a DVX-100, acting as a deck) to see the timecode from my sequence. This is for broadcast, so the station requires the program to start at 01 hour.
My sequence is set to drop frame TC. I'm using the "print to tape" method to lay off. My device control is set to DV time. The camera is set to record the TC that is being input through the firewire. The camera "sees" the video & audio, but no timecode. Changing the TC to NDF makes no difference.
Will FCP output a TC signal? The manual seems to indicate that it does. What am I doing wrong?
Any help will be appeciated.
Thanks

Outputting TC to a camera via firewire is impossible. Cannot be done. The camera is NOT a deck. And speaking of that, technically you cannot output TC to a DV deck via firewire. You need a deck (that is a MUST...MUST have a deck) with RS-422 control, like the Sony 1500. There is a tricky workaround to getting TC to a DSR-11 deck, but that won't work with a camera, as a camera does not have TC controls, and that is what you need.
If you need to deliver professional broadcast stuff, you need to buy the proper equipment that allows you to do so. Camera is good for shooting, possibly capturing from, but never to MASTER to.
Shane

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Output Timecode to DSR-45

Hi All,
I'm trying to figure out how to output timecode to my Sony DSR-45 DVCAM deck. I know FCP doesn't output TC over firewire, so I purchased the Keyspan USA-28X to connect the RS-422 deck control to a USB port. I have no problem capturing video and controlling the deck using this method, but I still can't output the darn TC.
For example, if I try to Black and Code a tape, the system just blacks a tape with the constant TC of 00:00:00:00.
Any suggestions of how I can fix this?
Thanks.

Firewire out thru DV isn't broken...it wasn't supposed to be there in the first place. It isn't accurate after a long output. Which is why I only use it to black a tape for a minute or two.
NO system should send out timecode. The way I have always done things is to black a tape striping timecode using the deck to preset the code. Either the whole tape and then insert edit, or the first couple minutes then set the deck to generate new code as I Assemble Edit. The deck manages the code, not the NLE.
Even with my little fix that uses SimpleVideoOut, I only black the first few seconds of the tape...then I let the deck regenerate the code. This is because the deck doesn't allow me to set a start timecode (the similar model JVC DVCAM deck does...a VERY useful feature).
TC to DSR-11
Since FCP 4 we have been unable to stripe a new TC such as 00:58:00:00 or 01:58:00:00 to a DVCAM tape with the DSR-11. NO MORE!! I think I found a solution.
Get SimpleVideoOut from the Apple (its free):
http://developer.apple.com/samplecode/SimpleVideoOut/SimpleVideoOut.html
Then create a QT Movie in FCP or Xpress Pro from a sequence which has the starting TC you want on the tape. I just tried it with 00:58:00:00. In the timeline, I just put Bars & Tone for 90 seconds and a black slug for 45 (to take me over 01:00:00:00). You could create a sequence with whatever combination you wanted with the TC set to start at whatever timecode you need for your choice. But the Timeline TC MUST be set to your desired starting code. The exported QT file will have this TC in it.
Then load this DV QT movie into SimpleVideoOut (having selecting Firewire / Apple Firewire PAL or NTSC when you open the app).
Now load a fresh DVCAM tape and set your DSR-11 to:
REC MODE = DVCAM
DV IN TC = EXTERNAL
(Have the TC display turned on for this first test so you can verify it has worked.)
Then just hold the REC and PLAY buttons together on the DSR-11 and press play in the SimpleVideoOut app and the new TC will be recorded to your DVCAM tape. Hey presto you are now able to stripe a tape with what ever timecode you want using a DSR-11.
Remember to turn 'DV IN TC' back to INTERNAL on the DSR-11 when you come to record your edit to tape.
The problem with the DSR-11 is that it is not the best deck and starting recording at the exact TC, but playing with the pre-rolls should eventually get it spot on. I have had some success with FCP's 'Edit to Tape' and very good results with Avid Xpress Pro after a few tweaks.
Also, if you just had a black QT file, you can change the starting TC to suite the tape; i.e. 00:58:00:00 or 02:58:00:00 etc without going back into FCP or Xpress Pro and rendering out another QT. To do this, just use Sebsky Tools to alter the starting TC of the file.
http://www.dharmafilm.com/sebskytools/
Shane

Outputting timecode from timeline to tape for broadcast

I need to output to tape for broadcast using specific timecode set up in the sequence from the timeline. Looking at previous posts on the subject it looks like you cannot do it, although someone says there is a workaround for a DSR11, which is the deck I use. I also have a sony DSR50 I use for recording from a Polecam if that makes a difference, although I can't see it would. I need to start the timecode from 09:58:00:00, running bars and tone and info/countdown clock etc to start the film at a timecode of 10:00:00:00 (Pal European Broadcast). Anybody have any idea of it can be done and how exactly to do it?

Now that is very helpful... had to go and search for the remote I'd never even looked at.... and I didn't even know it had a set-up menu!
However, having now set it to external TC, and tested it with a bit of video from the timeline, it does not seem to record ANY timecode at all. Instructions say the unit "records the timecode with video and audio signals input from the DV IN/OUT connector".... but I am recording using firewire. I don't have an option to record from the computer using DV in, so I'm guessing I'm stuffed?

Don't get timecode via firewire from FCP to Panasonic HVX200A for DV.

When I try to 'print to video' or just play the timeline for a NTSC DV sequence, I get video and audio on my Panasonic HVX200A camera, but no timecode. The timecode display on the camera doesn't move and when I 'Log and Capture' the video that I just recorded, the 'Log and Capture' just sits there displaying 'Waiting for timecode' while the tape is actually playing in the camera.
The camera setting for '1394 TC REGEN' is set to 'on' which means that the camera will get the timecode from the firewire instead of creating the timecode itself.
The 'no timecode' problem is the same for output to tape or P2 cards.
I am using the DV-NTSC Easy Setup for device control, etc.
But.... When I output an HD (720P/60P) sequence from the timeline to the P2 cards, the timecode is immediately visible on the camera's timecode counter. I can even send the DV sequence above to the HD P2 setup and the DV timecode will show up.
How can I get FCP 7 to send the timecode via firewire to my HVX200A using a DV recording setup options on the camera?

But I can send the time code from both a 720P/24P sequence and a NTSC DV sequence using the 720P/60P FCP video playback setup to the Panasonic HVX200A using the camera recording setup 720P/60P.
If I change the starting timecode for my active sequence from 01:00:00:00 to 03:00:00:00 and press play, the timecode sent to the camera displays the correct hh:mm:ss:ff starting with 03.
So you can output timecode using HD settings. And you can send a DV sequence to the same HD settings and see that DV timecode. Although, the DV frame is surrounded by black on all sides.
But why can't you output a DV timecode to a DV setup HVX200A?
Also, if you wanted to create a DV tape using the filters that burn a visual timecode to the tape, don't you need to be sure that you can send the timecode with video so that they are in sync when recorded? You wouldn't want the camcorder to provide timecode that doesn't exactly match the burned to image timecode?

Edit to tape confusing drop frame and non drop frame

This is a re-creation of a dead thread I found from June 6, 2006. This is the exact problem this other user was having.
OS 10.4.7
FCP 5.0.4
Dual G5 2.5
4.5 GB RAM
KONALH
Trying to edit to a Sony DVW-A500 (Digibeta) in Drop Frame mode.
Read Below for deets.
Problem: When working with a drop-frame sequence, and editing to tape, the program is edited to the tape with an offset of 3 seconds and 18 frames at the end of one hour.
Reproducible: Yes.
Steps to Reproduce:
1. Create a drop-frame sequence.
2. Edit the sequence in step 1.
3. Perform an edit to tape with the sequence edited in step 2.
What should happen: The sequence should be edited to tape at the time it occurs in the timeline.
What does happen: The sequence is edited to the tape 3 seconds and 18 frames after it should be!
Other observations: 3 seconds and 18 frames is exactly how much time is not in an hour of drop-frame time when compared to non-drop frame time. If you drop two (2) frames in every minute that does not end in zero, the math works out to 2*54=108 dropped frames in an hour. For the sake of simple mathematics, lets say there are 30 frames in a second. So 108/30= 3 with a remainder of 18, or 3 seconds and 18 frames.
It's as if FCP is getting confused about drop and non-drop timecode when the sequence is drop-frame. If anyone can offer any insights, confirmation, or resolutions for what I am seeing, it would be appreciated.
Thanks for reading!

So is the timeline a drop frame timeline, starting at 1:00:00:00?
And then is the DBeta tape prestriped (at least enough to do an assemble edit) to start the program at 01:00:00:00?
In other words, is the FCP timeline timecode matching the Dbeta tape timecode in a 1:1 relationship before you attempt to Edit to Tape?
Thinking further: FCP can't really confuse the two timecodes, it's dependent on the operator to tell it what to do. When it outputs it's not outputing timecode or looking even really looking for timecode. It's looking for your IN point in the Edit to Tape tool.
Message was edited by: loyed256

Trial by fire. Three camera fitness shoot. TC fed by DVCAM Deck.

Hi all,
I am embarking on a three camera shoot for two 90 minute fitness videos. The timecode will be fed to all three cameras by a DVCAM deck that we are also using to play the live music that the performers will be exercising to. This way all four sources (three cameras & 1 music) all have the same Time code.
Although I see a million potential editing Gotchyas in this scenario (and there are probably a million more that I don't see), I only have one question at this time...
Regarding FCP Capturing...
Whenever the performers mess up and we have to rewind the music (DVCAM) and reshoot a section, the timecode (that FCP will need to read) on all three cameras will suddenly jump backwards by a few minutes. We will be very careful to pre-roll and post-roll the music before starting or stopping cameras so we do not actually BREAK the timecode, but the actual TC clock will be jumping backwards with every take. This seems like it might be difficult to capture for FCP... any thoughts?
Thanks for your brainstorming.
G5-2000MP, ATI 9800 Pro, 17 & 20 flat panels & PBG4 1.67 Mac OS X (10.4.6)

Heya Zeb...
No problem on the TC IN on the cameras. Panasonic AJ-SDX900.
Regarding distribution of signal... feel free to point me in a direction... I have no idea and am on the hunt for just that piece of info.
Regarding VTR: Sony DSR-45. Has TC out, I hope it only spits out TC when the tape is rolling.... otherwise my whole paradigm is a house-o-cards.
Regarding logging and capturing:
I assume that I am going to have to dust off my old fashion logging chops. Since I will have multiple instances of the same timecode on a single tape, I will probably have to manually set the in and out points and capture for each take. Then set the in and out points and capture the next take... etc.
My DP is trying to convince me to use a smart-slate... we are going back-n-forth about the pro's and con's.
A TC Generator will take care of many of the problems with the shoot, but it isn't the best answer as far as creating an editable (and more importantly, a re-editable) product. Remember, this whole thing is the equivalent of a three hour music video that is edited from probably about 20 hours of tape.
The TC generator will sync the cameras together, but I will still depend on older visual methods to sync the video to the music. When you have takes that are 15 to 25 minutes long, it would kind of stink to have to drop a 20 minute clip into the timeline and sync it, just because I wanted to find a 1 second long b-roll cut at the 18 minute mark.
IF, I can drive the entire shoot from a VTR that plays the performance music AND outputs timecode to three cameras.... seems to me that I will have hit a sweet spot for this type of production.
The music, and videotapes from three cameras will be in sync. If I "media manage" the project to a storage drive (or just want to offfload 15 hours of unused footage) the remaining clips will all have the right timecode embedded so when my client wants another complilation video, I can move things around with the knowledge that they will be in sync by simply lining up the TC.

AJA Kona Support in Premiere CS5.5

I'm new to Premiere, and I've encountered some unexpectedly poor performance that I'm currently attributing to my AJA Kona 3, but I'm wondering what I can do about it. I downloaded a trial of CS5.5 and installed the latest AJA drivers (9.0.3) and Adobe plug-ins (9.0.1). Here's my system configuration:
Mac Pro 4,1
2 Xeon 2.93 Ghz
16 GB RAM (10 GB allocated to PP/AE/AME)
OSX 10.6.5
AJA Kona 3
No CUDA-enable GPU
External RAID storage array w/ fiber interface
I'm working with a mix of source materials - XDCAM EX footage, ProRes 422 or Animation graphic renders, DVCPro HD or Uncompressed captures - all at 1080/59.94i
For starters, sometimes I have clips that shouldn't have to render that begin stuttering or failing to play, but after I stop and attempt to play that portion again, it works fine. This becomes very problematic during Export to Tape operations, when it can play through most of a sequence then hang up at the end. It seems most prone to this when switching between video codecs in the same sequence where they are not marked with any render-indicating color. I assume this means the Kona is handling those clips and should be able to play them without any problems. Is there some configuration issue I should look at that will address this? Maybe RAM allocation?
Secondly, I can't figure out how to output timecode via the 9-pin RS-422. It seems that Premiere is not sending any timecode information to the Kona, because when I enable timecode overlay from the AJA Control Panel, it doesn't show anything. If I open a Quicktime file using AJA TV, the timecode will display as expected. Is there a configuration option within Premiere that I'm overlooking? Not offering TC output seems like it would be a major oversight, so I'm assuming this is something I simply can't figure out.
Third, I'm experiencing an odd issue when scrubbing the sequence to find edit points in the audio. When I scrub frame-by-frame, it seems that the audio being played is always from the frame I just scrubbed FROM, not the frame I scrubbed TO (i.e., the current frame). This is not intuitive, and also not how Premiere works in non-AJA sequence presets. I'm assuming that this is just an AJA bug, but wanted to mention it in case I'm overlooking something.
I know this is a lot for one thread, but I appreciate the community's time, expertise, and help. I really am excited about working with Premiere instead of FCP, but these issues can be frustrating.
Thanks,
Josh

Post this message at the link below. You will target your quiry to some folks that should be able to help you. Have you called tech support at AJA? If you are serious about resolving this issue that would be a good thing to do as well.
http://forums.creativecow.net/ajakona

Capture Problems URGENT...

I have rented a Panasonic AJ-SD93 vtr to capture footage in dvcpro format. When I attempt to capture, the error reads:
"Capture encountered a problem reading the data on your source tape. This could be due to a problem with the tape. Capture has been aborted and your clip has been saved."
Nothing captures. It is as if it instantly freeze frames and errors out. I tried changing my capture settings to non-controlable device and use "capture now" but even that doesn't work. However, FCP can control the device and preview works fine. I just can't capture. What am I doing wrong??? Thanks in advance.
Final Cut Studio HD 5.0

DO NOT set device control to non controllable. This is for devices that don't output timecode such as VHS. If you use it you will not get code from the tape. Instead FCP will lay it's own code and as I said before, it will have no relationship with the TC from the tape.
Once again, the easiest way to set up a program is to choose the EASY SETUP that matches the footage you shot. Now that you know it's DV50, choose the easy setup for dv 50. This should set choose all the proper presets for you. After creating the easy setup, create a new sequence and start capturing.
Good Luck
rh

Hi Folks, I am using FCPX 10.0.8 on a MPB 10.8.2 with a multi in/out audio device RME Fireface 400. I recorded a timecode track through in 11 and routed it to out 3. Initially it worked, although it did also play timecode through the main outputs 1

Hi Folks,
I am using FCPX 10.0.8 on a MPB 10.8.2 with a multi in/out audio device RME Fireface 400.
I recorded a timecode track through in 11 and routed it to out 3.
Initially it worked, although it did also play timecode through the main outputs 1&2 !!!
Now it has stopped playing TC through output 3.
Is FCPX capable of working with professional audio?
Regards
Donagh Long.

You welcome

Transfer Timecode to Output File

I'm using a Settings file (detailed below) to transcode a 10-bit Quicktime file to Streaming H.264
My 10-bit file has DF timecode on it but the resulting H.264 file does not. Is there any way to tell Compressor to carry the timecode over?
Name: MP4_800
Description: MPEG-4 video with AAC audio at 48kHz. Settings based off the source resolution and frame-rate.
File Extension: mp4
Estimated size: 86.83 MB
Audio Encoder
Format: MPEG4
Sample Rate: 32.000kHz
Channels: 1
Bits Per Sample: 16
AAC encoder quality: high
Data rate: 32 Kbps
Video Encoder
Format: MPEG4
Width: (100% of source)
Height: (100% of source)
Selected: 720 x 479
Pixel aspect ratio: 1.111
Crop: (L: 0, T: 0, R: 0, B: 7)
Padding: None
Frame rate: 29.97
Frame Controls Automatically selected:
Retiming: (Fast) Nearest Frame
Resize Filter: Linear Filter
Deinterlace Filter: Better (Motion Adaptive)
Adaptive Details: Off
Antialias: 0
Detail Level: 0
Field Output: Progressive
ISMA Profile: 0
Constant bit rate: 856 (Kbps)
Hinted for streaming server with
packet size: 1450 bytes
and packet duration: 100 milliseconds
Enhanced Podcast: Off

I don't remember if Compressor will do it.
I used to use an external program to apply TC to MOV files. I wonder if it will work with MP4/h.264 files. I'll have to look. It was useful when we relied on tape to send out for translation work and keeping code consistent between all the different ways the video existed, and then ended up in a DVD track.
Remind me later to day.

Timecode Output

Will Premiere Pro CC output RP 188 timecode (Blackmagic Design) through an SDI cable?

I didnt change anything in Premier but he IOXT does have the option of outputting time code via a separate BNC output like audio LTC as well as embedded SDI timecode... IN and OUT very handy !

Timeline Timecode to be displayed on output file

Hi,
I want to give my client a DVD on which it displays the running timecode of the timeline, this can be done Canopus Edius 3+ and also Matrox and Premiere pro.
Thanks
nazmul

If all you need in a copy with timeline code burned in...
Nest your sequence then add the TC Generator filter
(VIDEO FILTERS>VIDEO>TIME CODE GENERATOR)
EDIT Forgot: you then adjust the hour and frame offset to match your timeline start code.
Then render and export.
This will give you the code from your timeline, not the code from the original clips. To get that, add the Timecode Reader filter to each clip in the sequence and render and export.
rh

Edit to tape - timecode mismatch between timeline & output tape (Digi Beta)

I'm trying to edit to tape (insert) a programme. The clock drops in on exactly the right frame but by the time I get to the end of part there's a 2 frame difference between my timeline TC and the master tape's TC. In other words my timeline ends at 11.30.00 but when I play back the recorded tape the same frame is now 11.30.02. Is there a) an explanation for this and b) a solution? I need frame accuracy as I'm exporting my audio to OMF for the dub. Any advice hugely appreciated. Thanks. J
Digi Beta - Uncompressed 8 Bit - PAL.
Dual 2.7 G5 Mac OS X (10.4) Blackmagic HD Link
Dual 2.7 G5 Mac OS X (10.4)

Jeremy,
Wish I could offer more help other than to say Blackmagic is usually pretty quick with a fix once they identify there is a problem. We're in Sydney, and had some problems with dropped frames a couple of years ago, and they did some very quick testing and realised that they hadn't tested there new drivers with Batch digitise - point is, they issued a fix (updated driver) extremely quickly.
Go through your supplier and see if you can get their ear, especially if you can identify the problem happening consistently.
Tim

Unable to output from FCP to Canon XL1.

I have an eMac with Final Cut Pro 4.5 HD. I also have a Canon XL1 3 CCD camcorder.
I have no problem capturing footage from my camcorder to my eMac on FCP. I can also connect my Canon to my VCR and record off my camcorder to my TV, as well as play the tape on my camcorder to watch it on TV.
However, I cannot output from FCP to my camcorder. The 4 to 6 FireWire is attached to both the camera and the eMac and I checked the Log and Capture feature and FCP does recognize a camera or deck is attached. I've been trying to output it using manual record in which I press record on my camcorder and play the playhead on FCP. As I record, there is no picture on my viewfinder, nor any audio being recorded and when I play it back, I just get this blank blue screen, but the timecode is recorded.
Am I missing something here?

ensure the following are set
View>Video Playback>Firewire Apple 720x480 (NTSC or PAL - whatever is appropriate)
View>Audio Playback>Audio follows video
View>External Video>All Frames
If this isn't what you are set to do, you won't be sending video out to your recorder.
x

Setting a New Default "Output To" Template in the Render Que Does Not Work

I'm trying to change the default "Output To" template in the Render Que to not show the timecode for a PSD file, but when I change the default template by clicking on "Custom" from the dropdown menu and using the checkbox to set a preset as the default in the "File Name and Location Template", nothing changes. The next PSD item I add to the render que still uses the previous template (i.e. it adds the Frame) and doesn't honor the new default I just set.
Just submitted a bug report, as well.
Using AE 2014.1.1 (13.1.1.3)
Windows 8.1 Pro

I'm not surprised either of you is having problems creating a new output module and making it the default. That's not where you do it.
Go to Edit>Templates>Output Module. Make a new one. Select one to use as a default. Select a different one if you want a different default. You can have a default for both stills and movies. You can do the same thing for Render Settings. It's the same basic drill.
Since this is basic AE 101-type stuff, I bet you'd get a lot out of these how-to's from the pros:
Getting started with After Effects (CS4, CS5, CS5.5, CS6, & CC)

Outputting Timecode

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