but not the magic bullet... Although that link says "Typically, the
drift will be less than 1 frame per day", that has not been my
experience, even when crew is supposedly re-jaming at lunch.
I suppose the word "typically" should be taken with a grain of salt
when it appears in marketing materials :)
The problem is that if you have to check sync on all shots, and
frequently adjust by a frame or two, then you are spending almost as
much time as simply syncing by hand.
Time for Lockit 2.0 (WI-FI enabled to sync with other lockits or
master clock, and optional GPS capability to sync with UTC via GPS)!
best-
-N
On Jan 26, 2010, at 9:06 AM, Mark wrote:
> Wireless? Not quite, but don't leave home without them.
>
> http://www.coffeysound.com/Ambient-ACL202CT-Lockit-Box.html
>
> mark
>
> --- In Avid-L2@yahoogroups.com, "ponglest" <tim.harris@...> wrote:
> >
> > I have to agree, DF is such a nasty thing that introducing a new
> one brings shivers to my spine. Hopefully SMPTE's new working group
> on timecode & synchronisation will help to solve these problems.
> >
> > In the mean time, file based media and software workflows mean
> that we can do things like: pull the camera's serial number out of
> the file, group all of the files from one camera, apply a
> synchronising offset to each group of files to align them.
> >
> > Has someone done a TC generator with wireless repeaters? Similar
> idea to wireless speakers where the clock is kept in synch over a
> non-synchronous channel.
> >
> > Cheers,
> > Tim
> >
> > --- In Avid-L2@yahoogroups.com, nat jencks <natjencks.lists@> wrote:
> > > Re the introduction of 23.976 DF timecode, I have to say I
> wouldn't be
> > > a supporter.
> > >
> > > DF is such a horrendous pain. Yes, its easier for broadcasters to
> > > calculate the actual running time of a show, and certainly would
> make
> > > it easier to program the syncing of TC with clock-on-the-wall
> TC, but
> > > DF is so naaasty.
> > >
> > > long term (maybe not that long term), I like the idea of having
> small
> > > GPS units receiving UTC (over the GPS signal), which can
> apparently
> > > realistically be accurate within 1msec. This little "GPS-SYNC" box
> > > receives UTC time in the format YYYY:MM:DD:HH:MM:SS:uuuuuu where
> u is
> > > microseconds, and then converts to what ever format you want
> (audio
> > > samples after midnight, 23.976 NDF, 30fps DF, 30fps NDF, etc)
> and can
> > > output TC over a bnc and be attached to a camera... Having the
> "GPS-
> > > SYNC" unit seperate from the camera / audio device / etc. seems
> > > preferable since for the forseable future such a device would be
> > > fairly expensive ($500-$1000), and be an additional kit/rental or
> > > purchase.
> > >
> > > -N
> > >
> > > On Jan 25, 2010, at 7:22 AM, phillipsm wrote:
> > >
> > > > Semantics aside, my point was to illustrate that both TOD and
> REC
> > > > RUN are still used in today's workflows and that both source
> ID's
> > > > can be used in an EDL. While I agree that terms like Labroll and
> > > > Camroll aren't the greatest, I still use Camroll to represent
> the
> > > > media that came off a single card from my XDCAM... it's as
> good as
> > > > any I guess. Even the RED file name has a section called REEL.
> There
> > > > are plenty of custom columns one can create for more comfortable
> > > > terms, but they could only be used as a source ID via XML at
> this
> > > > time.
> > > >
> > > > Back to Bouke's original point about a drop frame 24TC. I
> think that
> > > > is a good idea and has been discussed internally before to
> reflect
> > > > wall time when working at 23.976 for the production master
> used in
> > > > NTSC based television countries. It can be "manufactured" as a
> > > > display pretty easily. Much like the other manufactured timecode
> > > > that are in MC and not part of SMPTE standards such as:
> > > >
> > > > 25PD: PAL 24fps played out with pulldown (12 frames + 1 field)
> > > > 30NP: 23.976 or 24 played out as 29.97 with 2:2:2:2 pulldown
> > > > 60P: 60fps timecode. While the format exists, there is no SMPTE
> > > > standard for it - all driven by 30fps standards.
> > > >
> > > > And while we're at it, why only have 24 hours in a
> postproduction
> > > > process? I am not talking about acquisition for REC RUN - but in
> > > > post for transfers and selects reels - why not have up to
> 99:59:59:xx?
> > > >
> > > > Michael
> > > >
> > > > --- In Avid-L2@yahoogroups.com, "Mark" <markraudonis@> wrote:
> > > > >
> > > > > "Labroll", "onelight"... seems like the terminology needs to
> > > > update along with the technology.
> > > > >
> > > > > Makr
> > > > >
> > > > > --- In Avid-L2@yahoogroups.com, "phillipsm"
> <michael_phillips@>
> > > > wrote:
> > > > > >
> > > > > > I am not at all referring to film. I am referring to tape
> based
> > > > and file based acquired shows and how they are being handled in
> > > > Amercan primetine television. I did not mention the word film
> omce.
> > > > > >
> > > > > > Michzel
> > > > > >
> > > > > > --- In Avid-L2@yahoogroups.com, "Mark" <markraudonis@>
> wrote:
> > > > > > >
> > > > > > > You're assuming that people are still shooting film... I
> think
> > > > the discussion started with the assumption that acquisition is
> FILE
> > > > BASED.
> > > > > > >
> > > > > > > Mark
> > > > > > >
> > > > > > > --- In Avid-L2@yahoogroups.com, "phillipsm"
> > > > <michael_phillips@> wrote:
> > > > > > > >
> > > > > > > > In the higher end television workflows you will see a
> blend
> > > > of REC RUN and TOD in the workflow. When dailies go through a
> > > > facility for a basic one light and selects "reel" the START now
> > > > reflects the selects and the "Tape" - this is the REC RUN
> version.
> > > > But each of those clips maintain the original source and TOD
> > > > timecode from the originals - be it file based or tape. These
> values
> > > > get tracked in a variety of columns - TC24, AUXTC24, AuxTC
> 1-5, etc.
> > > > Alternate sources are tracked in Camroll or Labroll depending
> on how
> > > > may generations need to be tracked. EDL Manager can then
> output any
> > > > source TC and Reel combo for online needs downstream. Avid
> tracks it
> > > > all. SO it is about getting the best workflow for the
> production at
> > > > hand - and while 80% are the same, it can be the 20% differences
> > > > that kill you! ;)
> > > > > > > >
> > > > > > > > Michael
> > > > > > > >
> > > > > > > > --- In Avid-L2@yahoogroups.com, Pierre H <ph@> wrote:
> > > > > > > > >
> > > > > > > > > Bouke said:
> > > > > > > > > > I am thinking that there is no need to shoot Rec
> Run tc
> > > > anymore on
> > > > > > > > > > file
> > > > > > > > > > based shoots / workflows.
> > > > > > > > >
> > > > > > > > > Definitely. Luckily, I was involved at the early
> stages of
> > > > 2 films -
> > > > > > > > > before shooting - and that's exactly what I asked for:
> > > > Free run TC
> > > > > > > > > based on Time of day. One of them being XDCam, I
> asked my
> > > > assistant to
> > > > > > > > > add a 4 digits tape number for each day MMDD (Month/
> Day)
> > > > on ingest.
> > > > > > > > > That way, there is no confusion possible as a same
> "tape"
> > > > can't have
> > > > > > > > > the same TC twice.
> > > > > > > > > RecRun is very much a tape workflow, but the habit is
> > > > deeply rooted in
> > > > > > > > > most departments.
> > > > > > > > >
> > > > > > > > > Pierre
> > > > > > > > >
> > > > > > > >
> > > > > > >
> > > > > >
> > > > >
> > > >
> > > >
> > > >
> > >
> > >
> > >
> > > [Non-text portions of this message have been removed]
> > >
> >
>
>
>
------------------------------------
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