Timecode in ltc

Hi,
I have written timecode in ltc. so it is written on an audio track. i have got this as a quicktime so i can not capture it. it is already on my harddrive.
can i do something so my final cut pro recognises the timecode?
kind regards

timecode written in audio wrote:
the SI2K writes its files directly to a quicktime.
so there are no tapes, i have a quicktime with on audio track one funny beeps. (timecode)
You have two problems: 1) your producers didn't know what they doing and 2) you don't have the proper tools.
Print out to tape via a LTC reader and then capture from the tape with its now useable t/c.
Never heard of "s12k" (which you did not mention in your OP) but you want to talk to the mfr and figure out how they deal with their weird machine's t/c.
there might be a LTC reader for FCP, dunno, never looked. what id you find when you tried?
bogiesan

Similar Messages

Two timecode stripes at different frame rates? (and other BITC stuff)

I'm not an FCP user, but I'm working with an editor who's not that up on the finer points of FCP operation. Would like to know if certain things are possible...
1a. Is it possible for FCP to simultaneously output a QT file with two different BITC stripes running at different frame rates (say, 29.97 fps and 23.976fps)? Or...
1b. For an already BITC'd work print (striped with 23.976 timecode) is it possible to add a second stripe at 29.97 fps, synchronized from the 1-hour mark (first frame of picture)?
2. Are there any parameters available in FCP to adjust the size of the numbers and the position of a timecode stripe?
3. BONUS QUESTION: what does the "R" in "TCR" mean? (just curious -- I've seen this for years but never knew what the "R" stood for).
Message was edited by: iSchwartz

iSchwarz!
Welcome to the visual side of things. Never thought I'd see you venture out of Soundtrack Pro and Logic land, glad to see you here.
3. R stand for Reader. TimeCodeReader. G will stand for Generator. TimeCodeGenerator
2. You mean adjust the TCR window? If you drop the filter on a clip, load that clip into the viewer, you can adjust the filter parameters there.
1b. BITC? There are 2 type of timecode that I'm aware of: VTC (or ViTC)(Vertical Interval Timecode) and LTC (Longitudinal Timecode). I seriously doubt this as then FCP would have to use to different timebases within the same sequence.
1a. Again, I seriously doubt this do to the different timebases.
You could print to tape this 23.976 fps sequence which FCP would add the pulldown resulting in 29.97 fps timecode and then import that. Or, maybe Compressor can add the pulldown and export a file wtih 29.97 fps timecode. Don't know, never needed to try that.
Good luck, report back with your findings.
Zeb

Is there any way to slave Premiere to incoming timecode?

I have a .mov file with embedded timecode. I recorded two channels of Ultrasonic audio (500 kHz samble rate - can even go higher, but I didn't want to take up too much recording space and wanted to save time opening files) on different software. I have seen other people ask if you can slave it to audio software, and the response was, whay would you want to do that? Last time I checked, Premiere doesn't support that kind of sample rate (I'm recording Dolphins here (seriously)).
So, I have this multi-channel ultrasonic audio file with the same embedded timecode . . .
I have an AJA I/O Express interface. It has an LTC timecode in. AJA has no idea what I am talking about when I ask them about it.
I could slave the audio to Premiere, but that is not what my client wants.
We are recording dolphins with multiple cameras and multiple ultrasonic hydrophones. They will be searching the audio files in different formats like spectograms. When they see something curious in the ultrasonic sound file, they want to click just before it, press play in the ultrasonic audio software, and have the video chase to that timecode loacation so they can see what the dolphins are doing before, during, and after the sound event.
This is not a joke, it is a real-life application - as ridiculous at it may seem to some of you. Obviously my client is very high-profile. I got the ultrasonic hardware/software provider to write special drivers for this application.
Just a few years ago, it was normal to have audio tape decks chase timecode and/or have video tape decks chase timecode.
Surely somebody is still doing this in software today. This was very simple not that long ago. Avid used to do it a few years ago. Do I need to be checking there again, or is there a way for Premiere to do it?
- Jay

The only way I can think to do this is to create file with both ultrasonic audio and video, then use a program that shows you both the waveform and the video. Outside of that, you'll have to take notes of where the events are in the ultrasonic audio file and manually go to that timecode in the video.

Timecode sych issues with the Panasonic AJ-SD93 deck

I've just purchased an AJ-SD93 deck with just the standard IEEE connection and I can't get the timecode to sych up properly when mastering to tape.
I've rented the same deck in the past and it worked flawlessly with the RS 422 control going through SDI (using my Black Magic Extreme card). I'm trying to save the $3K worth of upgrades and master straight through firewire but the deck acts like it's working correctly but is off from between 15 to 30 frames (It seem to vary). My masters must start at exactly the 1 hour mark, so I need this to work.
Please help!

That didn't work but you sent me in the right direction.
What did work is:
Go to Audio/Video Settings>Device Control Presets
Duplicate your FireWire NTSC setting (I renamed mine FireWire NTSC AJ-SD93). Click "edit".
* Change the Time Source to LTC
* Change the Playback Offset to whatever works (mine was -25)
For good measure I changed my Pre-roll to 5 seconds.
That's it. I do get 1 to 2 frame fluctuation, but it beats spending the $3K for the additional boards.

LTC break up when inserting Video and Audio

Hi Everyone
I have PMG5 2.0Ghz,Decklink pci extreme,firmtek.sonnet encloser with 2tb each storage,FCP 5.1 decklin 5.9.2. my problem is when i insert my clip from inpoint in edit to tape in insert mode that time on digi beta LTC blink and breakup ltc.
what is the the exact problem i cant recognize i chane digi,rebuild the system update the driver,chane the decklink card also i am facing this problem on diffrent system also with the same config
what is the problem i cant trace the problem please tell me about this thing ASAP
Thanks in advance

I don't think an insert edit should effect the timecode. Is this possibly an issue with the digibeta deck. I've never done an insert edit with a digibeta deck, but I would try and explore issues with the deck. Can you feed black to the deck and set up an insert edit directly on the deck? Is the timecode continuous?

Timecode in audio track

Is there a way to turn an audio track into a timecode track in FCP? I've been trying to figure this out for a while now. I shoot with an HVX and would like to have a way to jam timecode, but the HVX (like most miniDV cameras) doesn't have a timecode input.
Thanks!

Of course there is a third party solution. Mine:
http://www.videotoolshed.com/?page=products&pID=26
Reads LTC and creates a second (aux) timecode track in the QT's
hth
Bouke
**I may receive some form of compensation, financial or otherwise, from my recommendation or link.**
<Edited by Moderator>

Timecode Problems In 5.1

Hello all. All of sudden, when trying to log and capture from our Sony BetaSP deck, the timecode in the Log and Capture window (upper right) says 00:58:35:10 when the tape is at the BEGINNING. The deck says 00:00:00:00.
This screws up my in and out points so they all begin at an hour into the tape instead of 2 minutes. When I batch capture, it begins fine, but then just keeps recording one giant clip. I can't figure it out. I tried two different tapes. We have a Keyspan serial adapter to control the deck and it has works for years.
Thanks.

tc preset is for determining what timecode you start with when you stripe a tape (or "black" at tape) You should be in "record run" are you sure theres no setting for "auto" this looks at LTC in play, FF & REW and VITC in Jog mode.
Typically in your av devices tab in FCP select LTC and VITC. The deck should be record run,regen (unless striping a tape when you'd use preset) and auto for ltc and vitc. Vitc should record on lines 16 and 18. Your deck menu might be in "Basic" mode rather than "enhanced" . if your not sur of the settings try to find a local video engineer in your area, (perhaps a local post house there are several in your area and some great engineers), and hire him to check out your deck. If it did work and now doesn't , what has changed?

Multibridge / digibeta layoff - jitter - bad timecode

i'm on a mac pro
multibridge extreme
fcp 6.0.1
sony digibeta dvw-m2000 deck
using SDI to deck and rs422
device control: blackmagic ntsc 29.97
video out: blackmagic ntsc 10 bit
i have tried both insert editing with a blacked tape and assemble editing with a enough black to find the in point.
i am getting mixed results but primarily am getting an interlace jitter effect when i playback the digi tape. i cannot get the LTC to lock on when using assemble.. and when using a blacked tape and doing an insert edit (not sending timecode), i get varied results.
my real question is: am i missing a big obvious step here... is a blackburst gen needed to do this correctly?
should timecode come through SDI? are there any custom settings needed in the device control or otherwise?
i feel like i'm missing something obvious. i've layed off to digibeta before with no real issues... but i am having trouble this time.

Timecode captured is out of sync

I have just been working on a project that I have been offlining on FCP HD with footage shot on Digibeta capturing on a Targa Cinewave4.6 RT.
I exported an EDL for an online- when we took the footage to online the timecode was out of sync- slipping between 1 frame and 19 frames out.
When i checked my rushes tapes with the EDL it seems that the timecode on my FCP and the tapes don't match, and somehow the TC had drifted. The only change to my system is a different deck- I normally capture from BSP UVW 1800- or via firewire from DSR11 DV deck- i have captured from Digibeta with no problems, but not from a DVW M2000P deck- could this be the source of my problems? Any other ideas as i'm worried this is aproblem that could keep coming back.
Dual 1.25 Ghz Pwer PC G4 Mac OS X (10.3.5) FCP HD (4.5) with Cinewave 4.6 RT capture card

sorry jim i don't follow- so some more info may help- i am still using the same 9 pin i plug into my UVW 1800- there isn't a uniform offset it seems to be drifting randomly from between 1 frame and 19 frames.
Just to clarify all of this is shot at 25fps PAL.
I know an Avid system will recognize a new deck when its plugged in- is this something i should be changing manually- as i don't understand where or what i change in the device control panel with a new deck?
I also set my Capture Preset as TARGA Cine PAL YUV (to DV)- Unbalanced Audio Pro analog- i compress to DV as i often work on mixed format material- and its never been a problem before?
If this helps here are my Device control presets:
Use this preset when controlling a device at a frame rate of 25 fps via a Stealth Serial Adapter.
Protocol: Sony RS-422
Time Source: LTC
Port: serial
Audio Device Control mapping (Ch1-8): 2 Channels
Frame Rate: 25
Do not use deck search mechansism
Pre-roll: 3 seconds
Post-roll: 3 seconds
Capture Offset: 0.000 frames
Handle Size: 00:00:00:00
Playback Offset: 00:00:00:00
I really appreciate any help on this one as it could obviously be a long, time consuming and expensive problem.
Dual 1.25 Ghz Pwer PC G4 Mac OS X (10.3.5)

Generate Timecode with Logic (Pro or Express)

Has anyone tried to generate timecode with Logic? I need to send it to an external device, hopefully as an LTC signal. I'm shooting a music video and would like to use logic for location playback and recording. Thanks for any and all input.

To generate you'll need a Unitor (or other gen.)-fortunately you CAN use Logic to reproduce. Set up a 'stripe' track of an audio file playing SMPTE and set it on a unique output of your interface.

... AJA IOHD and Timecode ...

Hi,
I'm recordinf some live captation and I need to record the Timecode, the IO has a LTC input, but I need to put "non controlable device", but the Timecode is not record ...
Is there a solution ???

AJA released 5.1 drivers for ioHD yesterday, though the release notes state: "Apple's Final Cut Pro application does not yet support capture of timecode via RP-188 or
LTC. Only the included AJA VTR Xchange application currently supports RP-188
capture. LTC timecode support is not yet offered in the VTR Xchange application."
So it would seem that LTC isn't an option, only RP-188 (VANC-based).

No Timecode on DVD?

At work we've made a DVD containing a short movie without soundtrack. The movie is composed in Final Cut Pro with grafical images, no video footage was used.
Now the guy of the event company claims there is no timecode on it. He apparently needs this to activate the movie on a certain moment through his projector device.
The strange thing is that the first dvd we've made was ok, but the second dvd was not. Although the both dvd plays correctly on a normal DVD player, he claims there is no timecode on the last one.
I have no idea what I might have done wrong this time.
Any ideas?

Yes, at least one audio stream must be present regardless if your content has audio. There doesn't need to be anything actually in the audio stream, it just needs to be there.
FCP has a video filter which can READ and display timecode either from the source clip or the sequence timeline, but can not generate the audio pulses. You'll need a real timecode generator to create the correct SMPTE LTC pulses, which can be output as an audio signal. A reliable, moderately priced brand is Horita, but there are others. Many devices also can insert a burned in timecode window.
I would again consult with the event people to see what kind of timecode reader they are using, and if they have any suggestions about generators which have given them the best results in the past. Maybe they have a generator you can borrow.
Depending on the sophistication of the TC generator, you can select a specific start time, jamsync to a specific video reference point, drop/non-drop, frame rates, gen-lock and EBU TC for PAL. You can capture the output, both audio and video (for your reference), into FCP.
Use different TC start times (e.g., 01:00:00:00, 02:00:00:00, 03:00:00:00...)to distingush the DVDs for the event folks.
Your DVD layout is probably fine. If the Menu is indeed in Menu-Space, and the button click to play is what's necessary for the event, then OK. Double-check with them on whether that 's what they want/need, or if First Play should be to the Title. No need to set an end to a Chapter. Chapters end automatically at the start of another Chapter, or at the end of the Title.
Let us know how things turn out.
- TV

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 !

Tape with timecode

Hi all i write from italy and have a little problem, i hope someone can help me.
I need to make tape "digital betacam" with timecode offset, need the tv spots start at 10:00:00:00, i use betacam DVW-500P
in embedded mode.
can help me?
Thank for you reply
Alessandro

I'm sure you guys are right, but I'm shocked. Made an assumption there. Also making assumptions that EBU time code works in similar ways to SMPTE, which I'm sure is wrong.
The thing that surprises me most is that I assume the Konas and Black Magics of the world (which I don't have) pass VITC as a standard procedure. And any video deck that receives VITC records it - unless those lines are blanked. And many of those decks will go the extra mile and record that same code as LTC.
Another tack... if you have timecode going out via RS-422 control, and you kindly ask the deck to record through same control, won't it send out the sequence timecode, which would be dutifully recorded on the other end?
This is interesting to me because I have wanted to get back towards time code as a project tracking and communication tool, and it seems some of what I thought I'd be doing won't be possible.
I would also have assumed that code would follow through SDI to say a DBeta...

Audible Timecode Options and Capabilities.

Hello,
I work for a facility that uses a LTC timecode track to reference frames from DAT Tapes, Logged BWF files on DVD-RAM, HDCAM, Betacam, DV tapes, and so forth. It is an audible track on the tapes and things like XDRAM discs. It is the default timecode on the DAT and BWF files.
What I need to know is if there is any way to convert an audio track that is LTC timecode into timecode information/track in Final Cut. I want to be able to view both the VITC, LTC, and this seperate LTC timecode at once. I know an Avid can do this for me but I won't have access to avids for particular portions of my workflow. I always have final cut available. Thus this capability would be a real life saver.
Thanks,
Jamais
G5 Mac OS X (10.4.7)

Avid does have the 'read audio timecode feature' but FCP does not have anything equivalents to this. There is probably some kind of external box or reader you could route through though.

Timecode in ltc

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