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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