TC syncing

[Rainer Fritz]

Hi Everbody !

Thx a lot for the help in my other thread. Helped a lot.
Now I have a other question:
We have to TC sync a timecodeclap and a audio recorder. What is important to take care of at setup that the files and the external equipment runs with the same timecode?
Is syncing only via Red One as Master possible? Runs it constantly now?

thx in advance

rainer

 

[Sanjin Jukic]

Rainer, audio on RED is still not enabled, probably this month (November).

You do and sync audio in the same way like you would do with film (24 or 25 as you like it).

Consult an audio field recording engineer or user guide of your recording equipment.

Vienna is a good place to find a really nice analog/digital sound engineer.

 

[Noah Kadner]

Hi Everbody !

Thx a lot for the help in my other thread. Helped a lot.
Now I have a other question:
We have to TC sync a timecodeclap and a audio recorder. What is important to take care of at setup that the files and the external equipment runs with the same timecode?
Is syncing only via Red One as Master possible? Runs it constantly now?

thx in advance

rainer

Yes Red will Jam to a TC slate and then you can also jam the recorder to the slate. The trick of course is making sure that all clocks are set to the same rate. I've had a little trouble keeping sync across camera, slate and recorder but I know they are working on this.

Noah

 

[dino g]

we shot over 70 cards over the weekend using a deneke (spelling) slate and sync controller (or what ever the receiver/transmitter is called...a little blue thing about the size of pack of cigarettes) hooked via a 5 pin lemo to the timecode port with both set to 23.976 and it worked flawlessly.

 

[Noah Kadner]

Had a bit of a bumpy ride with sync on our shoot. We found the Red was often a frame late compared to the Denecke slate and audio from our Tascam HD-P2 was often several seconds off. We were using the slate as the source and didn't have the TC blue box TC genny D used. Everything jammed regularly at 23.976.

Ultimately all worked out fine in post but with a bit more manual syncing required than I'd hoped for. Looking forward to onboard audio and if that's not coming soon maybe moving up to a Sound Devices 702t.

Noah

 

[Rainer Fritz]

My first question is, has somebody used the camera as masterclock?
And then downsyncing everything...?

Second:
Is it possible to export from Redalert with Apple ProRes422? And is there
the recorded TC which I used for all other clocks saved?
Which format would be the fastest exportet for the daylies from Redalert???

I thought on following Workflow:
Copying cf cards to the HD from the copystation.
Backup
taking one from the HDs to encoding station.
exporting from redalert to QT ProRes422 (for example)
backup

with this prores422 files i will go to my edit room.
importing this files in fcp6
cutting and syncing of audio based on tc

again export session with redalert after or during offline cut.
converting only clips which will be needed for onlining to (for example) 2k uncompressed HD QT File.

then onlining the the 4:4:4 Hd QT files in FCP6

what do you think ???

could it go like this ??

thx
Rainer

 

[Stuart English]

Timecode

Timecode

The RED ONE camera will not operate as master timecode source at the moment. Use an external source as described.

Up to Build 9, there was a possibility of a 1 frame error when Jam Synced to an external source, but any reports of 4 - 5 frame errors are inconsistant with what we have consistantly seen on real world productions.

 

[Rainer Fritz]

thx for info

 

[Noah Kadner]

My first question is, has somebody used the camera as masterclock?
And then downsyncing everything...?

Second:
Is it possible to export from Redalert with Apple ProRes422? And is there
the recorded TC which I used for all other clocks saved?
Which format would be the fastest exportet for the daylies from Redalert???

I thought on following Workflow:
Copying cf cards to the HD from the copystation.
Backup
taking one from the HDs to encoding station.
exporting from redalert to QT ProRes422 (for example)
backup

with this prores422 files i will go to my edit room.
importing this files in fcp6
cutting and syncing of audio based on tc

again export session with redalert after or during offline cut.
converting only clips which will be needed for onlining to (for example) 2k uncompressed HD QT File.

then onlining the the 4:4:4 Hd QT files in FCP6

what do you think ???

could it go like this ??

thx
Rainer

Red Alert currently only makes the same quicktime proxies the camera does- only corrected to your liking. Or 4K and 2K DPX and TIF sequences. From there you can go to QT player and make ProRes 422's. But as you can imagine this take a long time and since you can't batch Red Alert or QT player it requires you to stay hands- on. We'll just have to wait for Red Cine and it's batching abilities to have a more straightforward workflow. Personally I'd love to see 4K and 2K ProRes and batching in Red Alert- everything else is great in there.

Noah

 

[Gunleik Groven]

Just a fun thought

If you use something like episode, (which exports qt-formats), would it be possible to batch process?

Gunleik

 

[Rainer Fritz]

thx noah again for your help...

 

[Noah Kadner]

Just a fun thought

If you use something like episode, (which exports qt-formats), would it be possible to batch process?

Gunleik

Episode or Compressor- but you'd be batch processing the QT proxies created by the camera. Only Red Alert can directly open the .R3D files.

My question for Graeme would be- if I open say a 2K QT proxy in Episode and export a 4K ProRes- am I actually getting access to the 4K .R3D original for the conversion or just upconverting the 2K proxy to 4K?

-Noah

 

[Gunleik Groven]

Ah... So there's still no RAW QT component...

Got it.

Cheers!

Gunleik

 

[Rob Lohman]

Noah: you will be upconverting. A 2K input source is a 2K input source (for applications that can't access the R3D directly, unlike RED ALERT! / REDCINE / Scratch)

 

[humanwire]

I'm new to this forum. Hello everyone.

I'm doing production sound on a Red shoot right now, and the timecode I see on the monitor always seems to be a bit off, maybe about a 1/2 second. The only way to tell has been to check it by eye. The Denekey slate and the TC on the recorder are solid, but the TC display on the Red monitor is always 1/2 second off and it does not seem to drift from that the whole shoot. I have a Clockit timecode generator (jammed from my recorder) connected to the camera at all times via the 5 pin Lemo cable. The Denekey slate was jammed from the Clockit box, so the slate and the camera should theoretically be running perfectly in sync.

Note: The Red does not jam the timecode being input until you are recording. When it jams, the little chain link icon appears at the top center of the monitor after the first take is stopped.