Log and Capture Question

I'm capturing all the footage from say reel 90 in low rez.

Half way through, there's a break and the time code starts over at 00:00...

I label that as REEL 90 - B and capture the remaining footage from Reel 90

So I edit that footage into my movie, some labeled REEL 90 and some labeled REEL 90 - B (all footage from the same tape)

When I go back to do a recapture in high rez, will Final Cut be able to figure out that both segments of footage came from the same tape but in different spots considering there are both spots on the same tape with the same timecode?

Well, it will prompt you for 90-B at which point you fast forward to that timecode break then tell FCP that the tape is ready.

I have done that exact thing myself. Good planning.


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If you're already up to Reel 90, I suggest you change your reel numbers to "090" instead of "90". Standard way to ensure the computer's alpha-numeric organization doesn't get funked up when it hits 100 and thinks 100 is smaller than 2.

But yes, your method is what every professional I've met uses to deal with timecode breaks. However, let me also add that once you hit four timecode resets or so, it becomes nearly impossible to use this system. This system relies on the operator knowing which section is A, which section is B and so forth while capturing. With too many timecode resets, you will probably lose track of which section is which. So if you have that many resets, you first bash the camera operator(s) over the head (the mouse makes a great flail), and then you recommend to the producer/client that you redub the tape before you try to work.


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An AV RCA cable makes a great cat o'three tails whip.
I think a mouse is more of a mace than a flail but it's splitting hairs.

On one project I worked on way back when, we inserted slates onto the master tapes at each TC break. There was lots of camera junk at the head of each TC segment and there was no money for dubs to new beta stock. Very risky and a little Rube Goldberg I know and not at all recommended, especially when there are impressionable people around who might get the idea that editing onto a camera master is something you can do cavalierly but some solutions are presented to you by the elimination of other possibilities due to time, availability, and finance.
There were 5 tapes out of 40 that needed this treatment and I took responsibility for inserting the slates and popping the record safety tab back in after. They invented that preview button on Betacam decks for a reason. "Those weren't the days Edith".

ak

ak
Sleeplings, AWAKE!

> On one project I worked on way back when, we inserted slates onto the master tapes at each
> TC break.

That would have been heaven, of course...but how many camera operators we know today even know what a problem a timecode break is, let alone spot it on set and spend shooting time to help fix it?

On a TV show I assisted, they used two Canon XLs (can't remember which model -- maybe XL-2s), shooting 24p DV, and on the very first day one camera came back with massive pixellations, dropped frames and bad timecode. Almost certainly not the deck or the FCP system's fault, since the other camera's footage was perfect. I reported it to the post-production supervisor, who diligently brought the problem to the producers and put me in touch with the camera department, who promptly refused all responsibility. "Nope, nope, we tested the cameras, they're perfect, leave us alone." Well, they shot another day, 150 minutes' worth of footage with that camera. Same problems. The executive producer lashed out at editorial, "Why didn't we fix this problem?" Finally, on Day 4, camera got off its ass and checked the cameras, and promptly traced the problem to the 35mm lens adapter they were using on that second XL. Removed the adapter. Bam, no problems.

Must have cost them thousands of dollars to fix that bad footage in the end. If only they had listened to me and the post supervisor.

Timecode breaks? "Let the editors deal with them." Teamwork is a beautiful thing, as Al Capone/Robert De Niro says.


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