Preserving Timecode

Could I retain/ preserve timecode throughout the entire process.
If I EXPORTED multiple video clips beginning at various START/IN points, (other than ZERO) with varying durations, using any appropriate quicktime formats, (PHOTO-JPEG, MOTION-JPEG, etc.) and IMPORT it into Final Cut Pro and/or Avid. Then output final project as a quicktime formatt.
Could I retain/ preserve timecode throughout the entire process.
Moreover, would I be able to view that timecode, in the movie properties or browser of Final Cut (GOP or MetaData Track), enabling me to recall where that clip began and end from my original source? (DigiBetaCam or MiniDV)
I need to have a step by step process for accomplishing this.
Finally, do I need any special hardware/software/pluggins for doing so?
G5 Mac OS X (10.4.7)
By the way, I want to have a low res file that would re-link to a high res file.

Quicktime RETAIN the time code
AFAIK QT and iMovie can retain the timecode (a.k.a. embedded timestamp)only in DV files. If you use some other intermediary codec (MPEG etc), the timecode will be lost.
QT Player 7 also lost the ability to show the DV timecode, and iMovie only displays the timecode of the very first frame of each media file. I miss an app that could show the timecode for each DV frame!!
Also notice that iMovie HD 5-6 has a bug -- exporting via the expert settings as a DV stream or .avi deinterlaces video and loses the timestamp. Exporting via QT Player preserves interlacing and timecode.
http://www.sjoki.uta.fi/~shmhav/iMovieHD_6_bugs.html#expertsettings

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I have read through some more forums and I only found one mention of the Media Manager 'Recomress' function.
It said:
"Transcoding with MM (recompress). It preserves timecode/reel name, file names, etc... Except the clip ID, which is used along with reel name and timecode to batch capture from source files (at least for P2)."
Clip ID is the metadata relyable for the work of batch capture. It seems without it it is impossible to batch capture.
I wonder why they designed Recompress like that, if it is true?

BATCH CAPTURE TAPELESS workflow still FCP is looking for a capture device when going ONLINE

Hi,
I am working on a documentary and about to go online with my edit.
I used Sony FS100. Tapeless. I did Log and Transfer to ProRes 422 in FCP 7.
Later when I run out of space I used Media Manager to RECOMPRESS everything to ProRes Proxi. Worked well.
But now when I try to batch capture to ProRes 422 FCP is looking for a capture device thinking I am working with tapes.
How do I make FCP undrerstand I am tapeless? Does the recompress kill the possibility of bach capturing back to online full quality 422?
Thanks for the support!
Gabor

I have read through some more forums and I only found one mention of the Media Manager 'Recomress' function.
It said:
"Transcoding with MM (recompress). It preserves timecode/reel name, file names, etc... Except the clip ID, which is used along with reel name and timecode to batch capture from source files (at least for P2)."
Clip ID is the metadata relyable for the work of batch capture. It seems without it it is impossible to batch capture.
I wonder why they designed Recompress like that, if it is true?

Canon T2i and Lion upgrade

Since upgrading to LIon, my computers will not recognize my camera. iPhoto does not open up when the camera is connected, but I can open iPhoto and any library that I have saved on an external hard drive. Any ideas on how to get the computer to see the camera?

It usually doesn't bother me to just sync clip-by-clip if they're all slated properly. The only time I really rely on the free-run timecode is if I shoot a bunch of video takes and want to sync them up to a single, long audio take. My workflow for that has always been to create a multiclip sequence out of all the clips, which relies on the timecode to arrange all the takes on a continuous timeline, with the appropriate amount of space between them. Then you just need to sync the first shot, and all subsequent shots will be (at least roughly) synced.
Of course, FCPX doesn't do multiclip sequences, so there's no way to do this, even if it could read the T2i timecode properly.
For what it's worth, the Canon E1 plugin is the only method I know of that preserves timecode—I think because it's stored in the .THM files. Premiere may also do it, but I'm not sure.

RejectedMessageHandlers question/Issue

1) I use BPEL 10.2.1.0.2
2) I have an incoming data file that may have some bad records amongst good records
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a) Notify process is invoked , however instead of passing the bad records, it is passing a null message.
b) Is there a way to pass the name of the bad file and bad records details to the "Notify" process
Any thoughts /workarounds/comments is duly appreciated.
-Gopal

I've had the same problem and found a better workaround. Exporting removes your timecode which could cause you additional problems worse than the lack of smoothcam.
Select the clips in your timeline (or all of your clips if the sequence is complex) then use the media manager to export them. It will only manage the clips you've selected.
Tell it to delete unused footage and add handles if you wish. Export using clip names rather than original media names - this way you won't get confused when off-lining clips with similar names.
When media manager is done, you can just work with the new project, or you can open the new project and sequence and simply copy/paste the clips from the new timeline into your old sequence. It should work. Just remember your new media folder is located in a different place than the old project files (you may wish to relocate them). I create a folder called "cropped media" for this in my active project folder.
Media manager exports do preserve timecode.
Please let me know if this works for you.

Source Timecode not preserved when making AC3 file

First of all, this is my first time using Compressor so it is very likely that I have overlooked the obvious!
I have created an AC3 Dolby Digital file in 5.1 from 6 wav files.
All has gone well and I can successfully create the file and play it back, when reimported, via the preview window.
My original 6 wav files all contain identical source timecodes.
The resulting AC3 file does not appear to have preserved the source timecode.
The preview window displays the timecode as starting from 00.00.00.00
I have also imported the AC3 file into Final Cut Pro and confirmed that the timecode starts at Zero.
My six original WAV files definitely have timecode.
I cannot find any setting in Compressor that will let me alter the resulting file's timecode.
If anybody could tell me what I have done wrong I would be very grateful.
Thanks in advance
Adam

Having done a bit more investigation, I have found that AC3 files can have timecode embedded in them.
Unfortunately Compressor does not preserve the source timecode but writes it's own, starting at 00.00.00.00
Dolby Media Encoder SE (from Dolby) does give you the ability to preserve the source timecode - as do a couple of other programs - but they tend to be very expensive!
I am not sure but I think that Final Cut Pro does not recognise the source timecode of an AC3 file - maybe that's why the option is not given in Compressor ?
Thanks
Adam

Is there any way to export 2.35 Anamorphic source to a 16x9 letterboxed frame WITH timecode or text overlays?

I have been trying to export temp cuts of an anamorphic project (2.35:1) in a letterboxed 16:9 frame with timecode and text overlays and other Additional Video Effects. Converting the 2.35 to 16x9 has been a breeze with the Preserve Aspect Ratio option in Cropping & Padding . The problem is that the black bars that that puts in the 16:9 frame appear OVER any of the Additional Video Effects, thus covering them up.
E.g. if I select a Text Overlay and place it in the Center, I can see it just fine. But if I want it Upper Left, Title Safe, it is covered by the black space of the Letterboxing. So the Additional Video Effects are getting added, they are just getting covered by the letterboxing. You can even see the very edge of the text in the Title Safe position, peeking out from behind the letterboxing, which is, of course, frustrating .
Thus far it's been a two-step process: letterbox the anamorphic source, then add TC and other video effects in a second job.
So - is there any way to do this in ONE step? It would really help my anamorphic workflow.
(apologies for the lengthy question.)
[I'm using FCPX 10.1.3 & Compressor 4.1.3, in OSX 10.9.5 on Retina MBP, Late 2013, w/ NVIDIA GeForce GT 750M 2048 MB]

Thanks for the reply Russ.
Yes, I've considered adding titles and/or generators in the FCPX storyline, but this creates a need to render the entire timeline. As I'm juggling library locations and hard drive spaces I just didn't want to add a new render that will occupy a lot of space. It's also a bit of visual clultter for me, so my goal is to find the best workflow for adding this stuff on or after export.

Best Way To Preserve MiniDV on Hard Drive

Hello!
I am starting a project where I am going through many MANY MiniDV tapes and I want to store them on an archive Hard Drive for future use (so that I do not need to deal with the real-time importation again). I have Premiere CS4 and have the camcorder connected via Firewire. My question is how can I save the raw footage the cam preserving all its detail? I want to keep the footage as it is on the MiniDV tape, so the archived version on the hard drive is a perfect reproduction of the tape. Once I have things archived, I will import them to edit and then compress them to smaller files sizes. I am well aware that the original tapes will take a lot of hard drive space (~ 13 gigs per hour), but that isn't an issue. I want to make sure that I never have to take all the time to import the original footage again.
I am well aware that the original tapes will take a lot of hard drive space (~ 13 gigs per hour), but that isn't an issue. I want to make sure that I never have to take all the time to import the original footage again. I also want to be able to import the archived video into any editing software I choose in the future, be it Premiere or something else.
Thanks!

I am well aware that the original tapes will take a lot of hard drive space (~ 13 gigs per hour), but that isn't an issue.
Thats SD, and I use ScLive for that. There's another program for HD that's supposed to be good but I haven't used yet.
It captures real time (firewire 800 is what I've used)...so it takes an hour ...I only have a mousey computer with 2 hard drives..should have 3...but I don't have the room in the tower or the sata port either for another....anyway, I capture to the 2nd hard drive which I use for my assets and projects....If I wanted to "save" those captured files ( even before importing to the project ) I would hook up an external hard drive and just copy all the files over to the external dirve.... some people use external drives for assets for a working project and that's when you need to assign the drive letter etc so you dont lose the link from project file ( on say the second hard drive ) to the assets ( on the external drive). But we're talking about saving for use on other stuff so you don't have to deal with that part of it...
ScLive will detect when your timecode indicates you turned off and on the camera...and make an avi type 2 file for each "clip"....so if you do more than one tape it's good to make folders for your tapes and name each folder , tape1, tape2 etc...then when capturing, name each file "tape1, tape2" etc and put into the relevant folder.....that way the timecodes match the tapes too...as the timecode becomes part of the filename..prefixed by what you name it...
ScLive is about $30 I think and its really good.
ps 1 terabyte 7200rpm drives are fairly cheap and fast and unless you really need larger size I would stick with that...
pps...dont forget, format drive ntfs, dont partition, indexing off...should be true of all your drives
the ones here who have taught me this stuff, harm millaard , john smith, bill hunt, ann bens, jeff bellune, curt wrigley, etc...lots more...have a lot of threads about systems and so on if you need more help on that end of it

Preserving tape name and media start/end

I shoot lots of tapes of random footage to get short general-purpose clips for use later. Years ago when I started, I would preview in the capture window via device control, carefully set log in/out points, and let batch capture make all my little clips. Then I learned how hard that is on my camera's heads, so I got Scenalizer Live and used a new workflow - I captured my whole tape, and then sliced, trimmed, and renamed the "keeper" clips. But since most of my clips don't need audio and SCLive doesn't know how to make a video-only AVI, most recently I've gone back to using PPro for the slice and rename operation, putting the captured video on the timeline, slicing and dicing, and then "exporting to movie" the good pieces to make new AVIs, with only video and with the filenames I want. (Yes, I know there are purists out there who would be concerned about generational loss of methods 2 and 3, but in DV-AVI I just can't see how any mere mortal could tell the difference.)
But just now I discovered that only my first method preserved the information of where the clip originally came from, i.e. the Tape Name, Media Start, and Media End. All the rest lost that information when I trimmed the clips in either SCLive or PPro. Argh!
These clips are a lost cause, but for the future, is there a better workflow, one that will preserve both the clip information and my tape heads?

I agree - the metadata doesn't need to be repeated for every frame - just once for the clip.
If the clip gets chopped up in PPro (or SCLive or whatever program), it doesn't seem like it should be that hard for the software to just do the math - if I have a two-minute NTSC clip that was originally captured from timecode 12:00:00 to 13:59:29, and I chop it into a 30 sec. clip and a 90 second clip (silly simple example), the resulting two clips should still preserve the Tape Name and other info, and the start/end times should be 12:00:00-12:29:29 and 12:30:00-13:59:29. But instead both PPro and SCLive delete the Tape Name, and the start times of the resaved clips are all zero. Naturally if what is on the timeline when I save is a composite of multiple clips it's a different story, but if the only editing has been to simply put the clip on the timeline and adjust the end points and/or cut with the razor tool, it would be nice if the capture data was preserved.

Timecode missing a digit (00:00:0)

My QuickTime Pro has recently changed its timecode format to 00:00:0 (only one digit in the last set). This is not counting seconds or frames, becaus it takes about 15 seconds for it to change. It is doing this on all of my clips (even ones that I have previously viewed without this problem. Any idea what is causing the problem???

Like other cameras that shoot AVCHD, you need to preserve the folder structure from the cards in order for timecode to be read. I don't think that timecode is recorded into the MTS files, but in metadata files stored along in the folder structure. I believe these are the CPI (clip information) files inside the PRIVATE\AVCHD\BDMV\CLIPINF folder. I don't have an NX5U folder structure to test, but I do have one from a Panasonic HMC150. If I move/rename the CLIPINF folder, all the clips start 00:00:00:00. If the folder is there, however, the timecode is read.
The upshot is that if all you have are MTS files, Premiere won't read the timecode.

Preserving Source Clip Information Upon Export In Premiere

Is there a way to export clips from sequence timeline and preserve source clip metadata?
Example - I have a clip I used warp stabilizer on and I have marked the clip with in/out. Now I would like to export the clip with same clip name and source timecode and hoping there is a setting to do so.
Thanks, Chris

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Can't export MXF and preserve metadata

I want to take a file from the bin, export from MXF to QT, and preserve the metadata. Oddly, there seems to be no workflow in Adobe capable of doing this.
I can't import the MXF straight into AME, because it's from the C300 which splits up the clips into 2 GB chunks, which only Premiere Pro seems capable of rejoining.
I can't send the MXF straight to AME from the Premiere Pro bin, which would be a nice functionality, but sadly, it seems I have to send it from a sequence, but...
I can't send the MXF to AME from a sequence, because then all the metadata from the clip is lost.
I can't modify the metadata in the export dialog, because timecode box is greyed out and zeroed...
Any suggestions?

Aha! I found that I can export from the source monitor instead of the timeline, which preserves all the metadata.

Can I use toast 10 to convert AVCHD to DVCPRO HD *with timecode* ???

I have a project shot in DVCPRO HDp60 and they've now given me some AVCHD footage to work with. Following the advice around here I went out and got Toast 10 to convert the AVCHD to DVCPRO and it works but I don't get the timecode. I need to preserve the timecode because windows dubs have already been made and it'll be a reference. I have the full AVC file structure and do get proper reel# and timecode when using FCP Log&Transfer but don't want to use ProRes or AIC.
Can Toast transfer the timecode or did I rush out and buy this too soon??? And if so am I stuck with ProRes or AIC if I need timecode? And if so does the quality of AIC compare to DVCPROHDp60?
thanks for any help

Time Machine would work, but it is the wrong tool for this job...
Easiest is to buy a new drive which is the same form-factor (2.5-inch laptop SATA drive probably) which is in an external case. I'd go for a terabyte drive -- it's not much more expensive.
The tool you need now is a disk-copying utility -- the best ones are CarbonCopyCloner and SuperDuper. One is free, the other shareware.
Then you plug the new big drive into your MBP, and it will probably mount on your desktop. Use the cloning software to copy your internal disk to the new external disk. This will take an hour or two, as opposed to Time Machine which takes FOREVER!
When you are done making the copy, you need to swap the two disks between the computer and the external drive case. If you are adventurous, search YouTube for instructions on how to replace the disk drive on your computer. Or take it to your local mac repair shop and have it done by a professional.
Ok, now you have a big new disk inside the computer, with everything exactly as it was on the 250GB disk -- except for a lot more free space! And you have a "boot disk" in your little case, which you can put up on a shelf for safe keeping. After awhile, you can erase your old disk and use it for off-computer storage. Or just leave it and periodically boot from it and keep the software up-to-date. When all **** breaks loose (software upgrade that has gone bad, etc.) you will find it an invaluable tool!

How to export HD-project to .avi including HD-quality and timecodes

Hi,
I have an iMovie HD 6 project that I have imported from my Sony HDR-HC3 HD video camera. The project is a HD-1080i-25 project. I want to export this project to an AVI keeping the HD quality (same quality as the DV-tape). What settings should I use to make this happen? I don’t want to export it as a QuickTime .mov file but as an .AVI file that I am able to play in a media player that supports HD. I also want to keep the 16:9 format and timecodes. One other purpose with this file is as a backup (if the DV-tape should be damaged) so it must be possible to import it into iMovie again if that should be necessary.
Is all this possible?
Thanks in advance.
Jarle

Your best option is to export to .dv using the Full Quality DV preset. It will preserve all quality including the timecode.
On the other hand the Expert export settinngs of iMovie 5 and 6 are buggy because exporting via the expert settings as a DV stream or .avi deinterlaces video and loses the timestamp!!
Workarounds: Export .dv via the Full Quality preset (this is more convenient anyway). Exporting as .dv (or DV-encoded .avi) via QuickTime Player Pro also preserves interlacing and timecode.
http://www.sjoki.uta.fi/~shmhav/iMovieHD_6_bugs.html#expertsettings
If you export via QuickTime Player Pro, then use the following settings:
Export: Movie to DV Stream
DV Format: DV
Video format: PAL (I am European)
Scan: Interlaced (notice that this option only sets the corresponding flag -- it does not do ANYTHING else to the video!)
Aspect Ratio: 16:9 (this options also sets the corresponding flag so other apps can properly treat the file)
Audio Format Rate: 48.000 kHz (I believe there is not much difference between locked vs unlocked audio -- unlocked seems to be the default)

I did not save using timecode

How do I archive/save a project if I did not do a batch capture using timecode? I plan to back the entire project onto its own external hard drive. Also, do i need to save any render files? My goal is to get the project off my computer while preserving the ability to re-edit if necessery in the future. Any assistance or advice is greatly appreciated. Thanks!

A little self reliance and reading of the manuals goes a LONG way. You've got all the hints toward success.

Preserving Timecode

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