Timecode concern

I have a timecode concern. I have been logging recently developed footage that has been transfered to miniDV (6 tapes in all). It seems that all of tape 4 and half of tape 5 are without timecode. The "capture now" option is out considering that FCP "waits for timecode" before it starts. I have two questions. One - Is there a way to capture footage without timecode? And two - Would it be in my best interest to go to the fellows that processed and transfered the footage and have them do it again with timecode? I'm sure that the latter is a good idea, but then again, I am just cutting a trailer from this footage. As always, any information is greatly appreciated and I patiently await your response(s).
Tayman Strahorn

Kind of depends what happens next - if we're talking film and a need to neg match, then having proper code is vital. However, there should be some code on the recorded tapes - it's a DV default, even if it starts at 00:00:00:00. If for some reason there isn't, or it doesn't progress, then set your Capture preset to "Non-controllable device" and do a "Capture Now", amending the code later, using FCP's modification options, or Cinema Tools. Someone who uses CT frequently may be able to suggest the best method for getting back to meaningful code... if on the other hand the footage is passing through FCP and not being taken back to source, then merely capturing it will suffice.

Similar Messages

  • CS5 (or 4)  Timecode in audio!

    Is CS5/4  able to show timecode in audio .wavs (anywhere/anyhow) ?
    Yesterdays shoot- Free run timecode specifically set to record in double system set up and now I can not find anyway to see the audio time code!
    Metadata starts at 00:00:00:00 as does source window.
    Tell me this not fact and there is some way to extract the info...please.
    Maybe a third party application?

    Good points, Tim--and I can definitely confirm that the Premiere team cares about the product. I've been contacted several times recently by team members, either in response to a post here on the forums or a feature request or a bug report. One of my feature requests got a personal reply, with a mention that a lot of PPro users had been requesting the same feature, but it was proving more difficult to implement than was originally expected. Nevertheless, there was a level of commitment intimated that assured me they were going to make it work, come hell or high water. I appreciate that--that lets me know they're listening to the most pressing usability and functionality (and stability) concerns and addressing them. Of course, not everything can happen the way we'd like, and that's just what we need to keep in mind.
    It's features like the dual-system support that present one of those "chicken or egg" conundrums. Premiere is going to start popping up on more pros radars, whether they like it or not, and Adobe has to take that seriously. Do you attract potential new customers with all the sweet new features you've got, and risk losing them forever when they find out you don't have what they need, or do you alienate a gigantic sector of your user base that wants more effects and transitions, and focus your efforts on functionality that most of the user base would find yawn-inducing and decry as "not for me?" It's a critical time for Adobe, and certainly not an enviable one! I'm glad I'm not one of the product managers right now
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  • Timecode question

    Excuse the elementary level. I shot half a tape, turned off the camera, then shot the second half the tape. The first half was already captured and edited. When I go to Log and Capture the second half, no timecodes show to put in and out points to capture it. I figured that FCP was confused because the timecode started again and so I have duplicates of each setting. So two questions, how do you avoid this when shooting and turning off the camera? Does everyone buy a separate tape no matter how much tape is used? And how can I get FCP to log and capture the second half of my tape? This must be simple to you guys. Thanks.

    Welcome Jeffrey,
    Not sure I have an answer why you're not seeing timecode. But...as a workaround (not sure it would even work)..try capturing with an altered 'reel' name. IOW, if you originally captured off this tape with a name of CAMTAPE1...then try putting the tape in and giving it a reel name of CAMTAPE1A...this may 'trick' FCP into recognizing the timecodes that could be similar as coming from a different source tape.
    I'm not familiar with how FCP file structures work in this regard, but maybe other 'gurus' can verify whether this procedure will work or not.
    As to your other concern about avoiding timecode breaks to begin with.
    Here are my tips for 'best shooting practices', for avoiding timecode breaks...particularly when editing in NLE's...
    - Get in the habit of always rolling 5 sec. of tape before action starts and 5 seconds of tape after action ends.
    - Try not to turn the camera off.
    - Try not to do 'searches' on tapes that are being recorded on.
    - If the camera is turned off, or you need to search back into the tape, make sure you do NOT roll past the end of the last recorded frame...preferably stop a couple of seconds prior to the last recorded frame, and begin recording there.
    - If your camera is capable of generating Bars, try to record 10 seconds of bars in between scene or location changes.
    -if you have to pop the tape out of the camera at any point, follow the above listed practice of cueing up to a couple of seconds prior to the last recorded frame, and start recording there to pick up continous timecode.
    -Really, really try not to... (IOW - DON'T) use 'free-run' timecode. It will make editing an absolute nightmare...particularly for NLE's.
    Sorry for the long post, hope it helps.
    Kevan

  • Fcp changing timecode upon capture

    i'm capturing dvcpro hd 720p 59.94 clips into my project using a panasonic AJ-HD1200 deck. the tapes are drop frame according to the deck. fcp plays and logs the clips as drop frame yet after i capture them they show up in the bin as non-drop frame with the timecode offset to account for that difference. why would fcp convert these clips to non-drop frame? thanks.

    capturing at 59.94.
    timecode was not generated by a camera. it was a 6-camera shoot that was recorded onto a rackful of panasonic aj-hd1200's.
    i'm trying trying to find out why there's a mismatch in the code. like i said the deck and the capture tool both indicate that it's drop frame. however once it's been captured, the timecode of the clip stored in the bin is now non-drop frame and is different than the mark in & out codes originally marked by the capture. for example an in-point of 13:28:24;01 in the capture tool (also in the bin when it's been logged) becomes 13:27:35:15 after it's been captured.
    i'm wondering if there's some mysterious setting somewhere that would this to happen that i'm overlooking. as far as i'm concerned everything should be transparent in this regard.

  • How to read embeded Timecodes

    Hello,
    i'm not sure if i should post this here or in the ActionScript 3.0 subforum but i hope it's alright
    we're enconding a livestream from a webcam with FMLE 3.0. for our project we need to embed the system time as a timecode into the stream (no device timecode)
    we need the system time to synchronize events to whatever happens on camera (somewhat like live subtitles)
    the "subtitles" are written into an XML file and transmitted seperately, on the client they're supposed to be put together
    everything else in the project works as it's supposed to except that we don't know how to receive the timing information needed for propper synchronisation
    we tried various versions of this: http://help.adobe.com/en_US/FlashMediaLiveEncoder/3.0/Using/WS5b3ccc516d4fbf351e63e3d11c10 4ba9cd-7ffe.html
    onFI gives us problems, it's not defined and we can't find how it's supposed to be defined ... it seems to only work with device time codes
    we also read something about AMF but we don't know how to apply that either
    most of what we're able to find is about device time codes and doesn't seem to be usable with the embeded system time
    could you point us in the post a solution to this problem or point us in the right direction?
    we could also focus on a completely different solution, but we've no idea how else to solve this so if you have a better idea we would like to hear it.
    thanks, Discord123

    edit4: after various changes most works without error messages
    the programm doesn't do what we want it to do though
    we do have some concerns with i, the for loop, the info object and info.st
    here is the onFi part,the whole timecode source can be found here: http://pastebin.com/39kMgXFb
    function onFi(info:Object)
         trace("onFi works");
         var timecode:String; // Timecode generated by capture device
         var systemDate:String; // System date "sd" embedded by Flash Media  Live Encoder
         var systemTime:String; // System time "st"embedded by Flash Media  Live Encoder
         var i:String;
         trace("info" +info);  //info displays "[object NetStream]"
         for( i in info)    //i is null, an object is compared to a string
          { trace("for");
            if(i == "st")
               {trace("if");
              systemTime = info.st //string formatted as hh:mm:ss.ms
          trace("st"+info.st);  // causes error #1069: property st for flash.net.NetStream not found and no default value exists. at MethodInfo-626(), at MethodInfo-625()
          trace(systemTime);         //for now it just displays null

  • Odd questions re: timecode generator

    Hello
    I have a rather weird question concerning a workflow that im sure most on this forum do NOT use.
    I have an edit consisting of animated qt .movs, 1280x720 @ 24fps, with NONE compression. Hefty, lossless files. There is also audio, though this is inconsequential to my predicament.
    This edit needs to go out to someone @ 720x480, letterboxed with running timecode on the bottom bar. It needs to be compressed to a QT .mov with MotionJPEGA compression.
    So, heres my current method, used many times, but highly quirky and VERY slow.
    First I take my 1280x720 footage into a 720x480 sequence @ 24fps with mojpegA compression, obviously causing all to need rendering down. On top of that, I put color bars (black), cropped to the correct size, to letterbox the animations at the top and bottom of the frame. Then on the lower letterbox bar, I apply a timecode generator filter.
    The problem comes here. With the filter applied, I then stretch out the clip its applied to, in a track over top of my animations to the end of the sequence (like 17 minutes long). Then everything gets rendered down (over the period of like 3-5 hours) and we have a clean, 720x480, letterboxed and timecoded sequence. Fantastic, right? Well, inevitably, a change will be made prior to export and a single couple of seconds will need to be updated under the bars and generator. As soon as anything under those tracks is adjusted, WHAMO, it needs rendering again, for the ENTIRE sequence.
    is there a way to go about avoiding this gigantic hurdle? I need the ability to make changes to individual sections of a large, rendered sequence, without needing a full, fresh, and extremely lengthy render-down.
    any help is greatly appreciated.
    thanks
    matt
    mac g5    

    It's the code generator that's doing you in. Is there any way to avoid applying it until you know there are no more changes? Or working in shorter sections?
    I can only guess that you're off-lining something for conform later, or prepping for a composer, or whatever.
    Aside from maxing out the ram in your machine, I don't see a way to speed up your process; but what if you change your process somehow? For example, open the clips in qt, export as dv in your codec and put THOSE in your timeline?
    This might shorten your render.
    You might also consider pushing back a little bit with the others involved in the production with you and all sit down and figure out another better way to do what you need.
    This probably isn't much help...

  • TIMECODE BLUES!

    I posted this in the VideoLounge too, but maybe it belongs more (or will get more views) here. Plus posting the issue in he Video Lounge got me all worked up again about how annoying it is.
    repost:
    I've edited on EDIT and Avid, anyone else think adobes treatment of timecode is rediculous?
    I can't make a 'windowdub' of a timeline for a producer to watch, unless (I've found a way to trick it...) I lay a blank title track and drag it across the whole job and apply the video 'timecode generate' effect to the blank title clip. Even then adobe (ON MY 12 GIG RAM MATROX AXIO LE SYSTEM) likes to render the timecode, it doesnt come off cleanly and can skip numbers and go slowly when your quickly shuttling the CTI around on the timeline. On all the edit and avid software, 'timeline timecode' or 'source timecode' even BOTH SIMULTANEOUSLY were applied with a checking of a checkbox in the preferences dialogue box for review veiwing/editing of a piece!
    What the devil was adobe thinking! Timecode is the MOST important thing for an editor, not the fancy effect (which my system does ALL of in real time - even when pulling 10 'picture in picture' Matrox 3D DVE effected video streams together WITH titles each - but it wont easily handle time code!) Maybe to many 'home video editors' today don't have need of timeline timecode anymore...but for those of us who work with producers, how are we quickly and efficiently supposed to communicate positions of edits to be made on the job!
    The other thing is...
    I have in the past, needed to replace a piece of an audio track of a 'linked togther' clip. Or because of a J-cut, I have lost the 'link' between my video and audio tracks (you drag one out, the other doesnt link and follow intuitively).
    This has lead to extreme problems on my end, because, I try to drag my video clip into my source viewer, mark down the timecoded ins and outs, and then I wil drag the audio from the bin (because in the cource viewer with a clip off the timeline, you can only shuttle between the ins and outs of the TIMELINE clip, not the margin of whats in teh bin) line up the time codes from what i had on my video, in-and-out mark it and drag the audio down to the timeline...THEY DONT MATCH UP!!!
    ^(this might be hard to understand, its the best I can describe it, if you have tried something similar OR worked in - especially old autodesk EDIT - you understand getting the time code from the source viewer and matching up audio from the the bins to the video, etc...Man I miss old Edit 6.0 alot!)
    In EDIT and Avid, BOTH of the video and audio tracks CLEARLY were marked with their OWN timecodes, so you cuold play with them separately and make SURE they were still lined up. E.G. inserting B-Roll in the video track, and on the othr side of the B-Roll on the video and audio tracks, time code numbers appear next to timeline clip Picons, so you can make sure the numbers match!
    Seriously, do editors design the software or just computer programmers!
    I miss the days of Avid and Edit. Not that I'm complaining, my AXIO LE system performs absolutely flawlessly and exTREMELY fast with my adobe software!
    Awaiting the new Matrox Axio LE drivers for the end of feruary to install ProdPrem CS4, exicted!
    If anyone can let me know easy ways to cure my timecode blues - lets hear it!!!
    I could probably stripe timecode onto a VHS (usually the clunky old format we use for internal review) with my old Panasonic 7510 and digi processor unit...but thats so much work for a windowdub!

    Windowdubs are something I'm asked to create alot at my workplace, so the producer can go mull it over and give get back to me with a 'paper edit' using visible timecode (hour:min:sec:frame) that runs along the bottom of the whole pice. I cut trim insert etc...according to the generated running timecode on my VHS windowdub...Adobe doesnt easily place 'timeline timecode' over a while timeline (save for my work around), it can only place the effect on a clip to teh best of my knowledge.
    It got really annoying before I found my work-around to place the timecode effect on everyclip and then WRITE IN the numbers corrsponding to the time on my timeline hashmarks, unless I'm completely attacking trying to turn on 'timeline timecode' the wrong way...
    To clarify the second issue:
    Imagine you place PART of a clip (the center few seconds of the total captured asset) on a timeline. Now after editing things, you come back to it and want to break out the stereo track to mono and fine tune the audio.
    You go to the clip in the bin, break out to mono, and bring your tracks over to the video clip (delete the old stereo audio track laying there). The WHOLE clips audio come out of the bin in mono fashion. Good luck trying to trim down and line up the new whole-clip mono tracks with your video excerpt, because the timecodes of the video and audio tracks, when placed in your source viewer (which tells you time codes of clip ins and outs), will NOT line up. Try it. Maybe I have a defective software suite!
    For instance if the video excerpt SOURCE time code is 01:02:30:00 to 01:02:45:00 (which you write down as reference on a sticky note in front of you!) and the whole captured clip in the bin is actually 01:02:00:00 to 01:03:00:00 it SHOULD be easy to replace the audio without replacing the video track.
    So you go to break out the audio from the bin clip place the mono audio clips in the source viewer, and cycle through the "toggle take audio and video" button on the source viewer until you ONLY have the audio showing (signified by waveform in the viewer instead of black or video). Find 01:02:30:00 and mark an in on that audio track, now do the same for the outs 01:02:45:00, now bring the mono tracks down to the timeline and 'snap' inline with the corresponding video excerpt. Do your audio and video line up?
    Better yet dont delete the old stereo track, and play the stereo and mono alongside, hear the ~5 second +/- vacinity delay?
    On edit and Avid, in the corners of the clips on the timeline (both ends a.k.a. head/tail) little numbers for BOTH source and timeline timecode were written, so if you ever had to replace audio (or recapture audio only and replace audio - more likely if you captured with bad levels!) you could EASILY replace the audio!
    Tell me for years on CS3 here I've been donig things wrong! Or is my software messed up?!?!
    If you've never had the need to be concerned with timecode (home editing/weddings etc...) I can understand, but when making documentaries or working with a producer selecting clips its rediculous!

  • Capturing issues-audio sample rate & locating timecode break

    I am a first time FCP user.
    I am working on an educational video with hours of DV source tapes.
    The source tapes are from a 2R50MC Cannon mini DV camcorder also used as the deck I am capturing from via firewire. My scratch disk is Maxtor III 500GB external drive hooked up via a firewire (I'm realizing the firewire is years old could that be a problem?)
    In my first capture test I captured 1 minute of tape by setting in and out points and after completeing the capture I received an error message—"The audio sample rate of one or more of your captured media files does not match the sample rate on your source tape. This may cause the video and audio of these media files to be out of sync. Make sure the audio sample rate of your capture preset matches the sample rate of your tape."
    For the past day I have been scouring the user manual, this discussion group and training tapes from Lynda.com and can not resolve this issue. I have determined that the source tape is 12 bit or 32 kHz and yet can not find a way to set up capture preferences to 32 kHz. Is this the problem/resolution? Page 320 of the user manual shows the QuickTime Audio Settings dialog box but I can't find it in FCP or Quicktime. Is this where I make the change to 32kHz?
    After doing the first test, I tried again and ran into a new problem—it stopped capturing with the message: Locating timecode break [press esc to abort]. It never seemed to resume capturing and I pressed escape to abort. If I'm reading FCP time code window correctly I received this time code break message within a section I had already captured previously (with the audio sync warning).
    I have done several capture tests at different points in the tape and on different tapes all with the same results. I've used the capture clip and capture now buttons. I've tested with drop frame turned on and off. Confirmed my setting of: At timecode break "Make New Clip." Confirmed my Easy Setup as DV-NTSC. My capture preset is DV NTSC 48 kHz. I've turned off and on FCP. Restarted my computer. Restarted my computer with the shift key down and ran permissions.
    Any ideas are GREATLY appreciated, T.

    I am concerned about available memory when capturing to my hard drive and the babysitting and extra steps involved considering the amount of tape I want to capture...but it does work that's GREAT!
    This is always a concern, but in your case I think having the camera and external on the same bus was causing your problem. You may have to capture a little and then transfer, rinse and repeat. Just don't try to do too much at once and let your System Drive get too full, you'll run into other problems there. Slow and steady is the pace!
    I shouldn't have stacked my questions since you answered one and Chris answered the other. Don't know how to apply the answered question and who gets the points.
    No problem, just mark it answered and divide up the solved and helpful points as you wish. All in all we really don't care too much about the points, but they do make us feel good! Thanks for your desire to use the forums properly.
    K

  • Broken timecode on striped dv tape?

    i striped a brand new mini dv tape and then fast forwarded 30 min into the black, and recorded a few seconds. when i tried to capture the footage, fcp said "problem with incoming stream". this is weird, and when i look at the timecode on the camera, i can see the timecode studder when i started to record and when it ended. i thought if u stripe tapes u can record anywhere and the timecode wont change. this was all in HDV by the way.

    i thought if u stripe tapes u can record anywhere and the timecode wont change<<</div>
    You thought wrong. Most DV consumer/prosumer camcorders will erase/overwrite timecode and ALL other information previously existing on the tape when you record. The only thing pre-blacking a tape does in those cameras is that you've made one pass on it and you now have a used tape.
    Pre-blacking or striping a tape is a holdover from the analog days when camcorders could perform insert recording and an uninterrupted timecode or control track was needed.
    If you're concerned about avoiding timecode breaks, record a sufficient amount of pre and post roll for each scene shot - 5 to 10 seconds will usually do.
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  • Keep Timecode through transcoding - how?

    Folks, when I try to take my XDCAM footage and transcode it to H.264 or some other type of quicktime, I want the resulting file to keep the timecode from the source. How do I do this? Presently, when I open the resulting file in Quicktime the track starts at zero.

    TOnyTOny is right, you should be able to see it QT Player so long as you're encoding to .mov.
    There is even an option in QT Player's Preferences to set it globally - Show timecode when available. (That's not a feature that requires QT Pro, in case that's a concern.)
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    But, since since many firms don't actually play these movies in QT player, I've always been told that it's necessary to burn-in timecode. I take it this firm doesn't require that?

  • Pre-Loading Timecode on a Tape

    I'm sure this has been answered here. However, I did a search and could not find the answer. (I may not be thorough, but at least I'm honest)
    What is the best process for "pre-loading" a tape with timecode? I want to eliminate the situation where I get a break in timecode on the tape.
    Is it as simple as just putting a tape in the camera and hitting record until the tape runs out? Or is there a better way?

    Kevin, JohnAlans suggestion is a common practice, particularly with analog tape for 'insert' editing purposes.
    I've read though, that this may not be optimal for 'shooting' DV tape, as it can cause strange behavior, were there to be any..camera induced timecode breaks.
    Best practice for this comes down the the shooter.
    - Get in the habit of always rolling 5 sec. of tape before action starts and 5 seconds of tape after action ends.
    - Try not to turn the camera off.
    - Try not to do 'searches' on tapes that are being recorded on.
    - If the camera is turned off, or you need to search back into the tape, make sure you do NOT roll past the end of the last recorded frame...preferable stop a couple of seconds prior to the last recorded frame, and begin recording there.
    - If your camera is capable of generating Bars, try to record 10 seconds of bars in between scene or location changes.
    Hope that helps,...I was understanding your question to deal with 'timecode breaks' that affect captures. If you're concerned about 'blacking' tapes for editing, that's a different deal.
    Kevan
    EDIT - I knew I missed something...if you have to pop the tape out of the camera at any point, follow the above listed practice of cueing up to a couple of seconds prior to the last recorded frame, and start recording there to pick up continous timecode.
    Really, really try not to (DON'T) use 'free-run' timecode. It will make editing an absolute nightmare.

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    My first reply was probably a bit vague but it's not clear exactly what you're planning to do.
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    Good luck.
    AC

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    HI sree,
    ofter creation value field and saving that time reqwest number appeare copy the reqwest number and go through the se01 select that reqwest number select and transport click the truck symbole, and draft a mail to basis guyw.
    Thank You!
    Best Regards,
    pradheep.

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