Timecode and .mp4s

[Joe Riggs]

We are working with a RED Monstro and a BMPCC, timecode is being jammed to both.
This is not to sync audio but to sync the two cameras together.

Both are creating ProRes 422 HQ files. However, when I create lightweight dailies to .mp4
the files from the RED maintain timecode but the files from the BlackMagic do not.

I know I can just create .MOVs to maintain the timecode but is there a reason the files from
the RED maintain their TC in .mp4 but the BMPCC does not?

 

[Phil Holland]

You won't be syncing any camera if you are not using Genlock.

Timecode is not adequate to do so on it's own.

BMD world generally suggests timecode to approximate sync, which is the result you have I would say.

As for the timecode itself, sounds like something is drifting or your export is at a potentially different timebase or for some reason TC isn't being carried over. Hard to know without looking at everything.

 

[Joe Riggs]

Hi Phil,

I'm using Resolve, I was curious why the RED "pro files" files maintain TC through conversion to .mp4s, while the BMPCC "pro res" does not.
The BMPCC mp4s get stripped of their timecode but the mp4s made from the RED maintain it...interesting to me, I don't know, maybe the power of RED.

 

[Marc Wielage]

H.264 files also don't natively support embedded timecode, as far as I know. ProRes 444, 422, 422HQ, 422LT, and all the flavors of Avid DNxHD and DNxHR do. We traditionally use 422LT for viewing copies and file uploads, and generally provide visible code and embedded code for the editor. Our dailies typically look like this:

The lower L timecode would only be valid in the case of a finished project -- the "workprint," for example. In more elaborate situations, we'd add scene & take, shoot dates, audio timecode, a watermark, and so on: