How to capture 1st 3 seconds ?

During batch capture FCP likes to roll back and start the tape 3 seconds before the "in" point of the logged clip you are trying to capture which means you have to set the "in" point at least 3 seconds away from where the timecode starts on the tape, otherwise FCP gives an error and says "end of tape reached" or "can't locate" or whatever. You can probably use Capture Now but then you don't get the timecode and have no device control.

A lot of cameramen don't turn on the camera until a split second before something important is said at the beginning at event shoots. Is there any way to capture the footage - with time code - right from the beginning, and not at least 3 seconds in ??

The most reliable way is to re-transfer the tape with pre-roll. The faster and lazier ways are to either reset FCP's pre-roll number in Device Control Presets, or to start Capture Now before rolling the tape. But those two methods may result in inability to batch recapture should you ever try to do an online, or if you lose your media.

Now, if it's a live event where something unexpected happens right after the camera changes reels, then nobody can help that. But if the footage is an interview or something else where the crew has control over pre-roll and when the shot starts, then sit the camera operator down and give him a thorough chastizing. The first 10 seconds of a tape should be considered no man's land for useful footage, and most pro camera operators will actually put in 60 seconds of colour bars and tone before they shoot anything, giving plenty of headroom for pre-roll.

We usually make the camera operator sit with us for the half-hour or so it takes to rescue that first three seconds.

Koz

Good one Koz! :-)

Next time hire a pro camera operator. No DP I know of would EVER shoot on the first 30 seconds of tape. That's where Bars and Tone should be?always. A good camera operator always thinks of the editor, giving plenty of heads and tails for each shot as well.

If it's an event? There's still no excuse. Rolling bars and tone onto tape before the event begins is how one handles that.



Kevin Monahan
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NICE !!

THAT BRINGS UP ANOTHER POINT. What is the correct way for the ones shooting to put bars and tone at the beginning of tape and have there not be a tinmecode break at the point where the actual footage starts.

We get lots of tapes that start with one timecode during the bars but switches to something completely different when the footage starts.

Is this normal, or are they not doing it correctly ?

> Is this normal, or are they not doing it correctly?

They're not doing it correctly.

Normal healthy cameras, unless they've been set to free-run (time-of-day) timecode, should not break timecode unless you take out the battery or switch the camera to VTR mode.

No one who knows the edit situation should be using the first 30 seconds of any tape! That said - THEY DO!

Most you can do is set the in point on the first clip in the tape at 01:00:10;00 and get what you can. If you MUST get the very first frame captured, you gotta' rewind the tape and press play just after you start Capture Now in FCP.

Just know that IF you need to recapture a clip in this area, for any reason, it will be manually done.

FYI - Just remind any one using a tape based camera around you to "waste the first 30 seconds. or else!"

BTW - You can generally get bars and tones from a menu on most high end 3 CCD type DV cameras or better and on ALL DV cameras, they reset timecode to 00:00:00;00 if you shut off the power.

Most TC breaks come from consumer level cameras that do not back up to the last TC number automatically. So everytime you shut off the camera and then turn it back on - BOOM - TC break. Most of the prosumer Sony cams, even the TRV-900 automatically backed up the tape on powering it up, but many do not.

If your cam doesn't automatically back up onto the last frame upon powerup, you can go to VTR mode until you see TC again, flip it into Cam mode and you won't have a break.



Kevin Monahan
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Kevin, be aware that a lot of multicamera "reaiity" shows don't give a damn about breaks. As one studio guy here said, "just do a digital layoff." To which I reply, "HAH?? To what other 50,000-dollar deck here in my boutique studio?"

Other than inexperience with camera menus, some say they need the broken TOD code for story reference, and that's surely useful. But to pay for that convenience they should do a standard 5-second run-up before "reality" hits.

I really like Koz's lesson plan for "reaiity" camerapeople to bring this workflow home.

My feeling is, don't screw with the TC track. Like Kevin says, on consumer stuff use the Editsearch feature which backs up the tape to last timecode. On pro cameras set to Record Run for a real SMPTE track, set the reel number in the hours slot, and if available do your TOD reference stuff in User Bits-- most good cameras have an aux TC track. That way, you can actually capture on cheap post stations with 3-second preroll!

Otherwise, so sorry, must rent that extra 50K deck-- just in case.

Hit 'em in the wallet, they'll adopt it.

- Loren
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Speaking from a "reality show" background, yes, we ALWAYS us T.O.D. code, and yes, timecode breaks are a PITA. However, some of the newer cameras like the sony xd-cam have a constant "on" feature which stores the past 15 seconds in RAM, meaning you should NEVER miss anything.

Having said that, I hate timecode breaks and would switch over to continous code in a heartbeat if that were practical. Unfortunately it's not. So, a tape (or disc) that would normally digitize in an hour now takes close to an hour and a half to get "over" all of the timecode interruptions. For us, redubbing is not an option.

I also like Koz's idea. I'm usually shocked at how "unaware" many production people are about the needs and requirements of POST. I've made it a point whenever possible (if they'll listen) to try to educate as many camera folks as possible about WHY we need preroll.


mark

PS. Bars at the head of a tape are so "analog". In a digital setup, when's the last time anyone actually used bars?

[ try to educate as many camera folks as possible about WHY we need preroll. ]

Mark, you bring hope to alienated offliners everywhere, working "reality" or reality.

[I hate timecode breaks and would switch over to continous code in a heartbeat if that were practical.]

Must be a way to have both smooth VITC for capture and TOD for reference.

[ In a digital setup, when's the last time anyone actually used bars?]

I use 'em for the dupe house masters, if the clent still wants VHS, and certainly for the tone.

- Loren
Today's FCP 5 keytip:
Preview effects sections with Option-P or Option-Backslash!

The FCP 5 KeyGuide?: a professional placemat.
Now available at KeyGuide Central:
www.neotrondesign.com

bars:

the main thing for me is the protection at the head of the tape.
i'd like them on the end, too,
or at least another few seconds of hand-over-the lens.

loren:
"Must be a way to have both smooth VITC for capture and TOD for reference."
you;d think so: i mean with DV the TOD code is in there somewhere for the DV start/stop to work.
why it's never been accessible by mere mortals is still a mystery.

nick