Timecode question

Z

Zorg

New member
My company is thinking of buying an HVX200 but a guy from a post-production house informed us that HVX200 doesn't have real SMTPE timecode but proprietary timecode. The concern they have is that we wouldn't be able to do an offline/online editing workflow.
Another concern they have is that that the guy from the post house told them that the camera only records in 720 mode.. but from what i understood it records 1080 progressive as well as interlaced. If anybody can help me clear this up I'd really appreciate it.
 
Dont mean to be rude, but doesnt sound like this guy knows what he's talking about. Are camera is one of the best cameras out there for the cash, Hands Down. I dont know much about anything, but I know that with this camera, you wont have any issues, and If I am right it is TRUE SMPTE timecode and also we can recorde, 1080i, 1080p, 720p, 480i, and something called DVCPro50, but I dont know how to record that, but from the steals THE QUALITY IS AWAMZINGLY CRISP.
 
Last edited:
SurJones said:
Dont mean to be rude, but doesnt sound like this guy knows what he's talking about. Are camera is one of the best cameras out there for the cash, Hands Down. I dont know much about anything, but I know that with this camera, you wont have any issues, and If I am right it is TRUE SMTP timecode and also we can recorde, 1080i, 1080p, 720p, 480i, and something called DVCPro50, but I dont know how to record that, but THE QUALITY IS AWAMZINGLY CRISP.
Click to expand...

Yep, he's right.... I'm pretty sure it uses SMPTE Timecode too. And it does record 480i or 480p in MiniDV, DVCPro, DVCPro50. And It records 720p, 1080i, and 1080p(recorded over 1080I, so 1080/24p is brought in as 1080/24p over 1080/60I) in DVCPro HD. The only thing that you can't do in 1080 is variable frame rates. Variable frame rates are only available in 720p, frame rates include 12, 18, 20, 22, 24, 26, 30, 32, 36, 48, 60fps.
 
Since you can't jam sync the HVX to an external timecode generator (other than another HVX or DVXb) it would be considered proprietary. Of course you could send SMPTE timecode the the HVX (by using 1 of your audio channels). AVID is great at extracting this timecode and embedding it into the metadata of the clip. This is great for music video's.

We all know that the P2 workflow as it pertains to timecode makes doing a traditional online/offline workflow pretty difficult.

So this guy was partly correct.
 
carlone said:
Since you can't jam sync the HVX to an external timecode generator (other than another HVX or DVXb) it would be considered proprietary. Of course you could send SMPTE timecode the the HVX (by using 1 of your audio channels). AVID is great at extracting this timecode and embedding it into the metadata of the clip. This is great for music video's.

We all know that the P2 workflow as it pertains to timecode makes doing a traditional online/offline workflow pretty difficult.

So this guy was partly correct.
Click to expand...

We will probably be using AVID Xpress 5.2.4 when the time comes around to edit (or even Media Composer now that it's software standalone). Should there be any difficulty in getting the timecode to Avid via firewire?

Let's say I had a large RAID hard drive unit for storing full rez clips and a smaller hard drive for storing low rez clips for offline editing. Would it be possible for me to edit the low rez clips, then go back and do an online from the RAID array. Would the timecode from the two hard drive units correspond to one another? The final step I guess would be to take the hard drive with the final full rez edit to a post house so we could have it dubbed to an HDCAM or DVCProHD tape or something else for broadcast purposes. I guess we'll start figuring this stuff out ourselves when the time comes, but I wouldn't mind having some advance knowledge of what to expect.
 
carlone said:
Since you can't jam sync the HVX to an external timecode generator (other than another HVX or DVXb) it would be considered proprietary. Of course you could send SMPTE timecode the the HVX (by using 1 of your audio channels). AVID is great at extracting this timecode and embedding it into the metadata of the clip. This is great for music video's.

We all know that the P2 workflow as it pertains to timecode makes doing a traditional online/offline workflow pretty difficult.

So this guy was partly correct.
Click to expand...

There is convertor that gets DV to LTC. Which I'm using to sync up DVXs (well two of them, since we have 100, 100a, and two 100b's; and only the 100b's pass timecode via firewire.) and Slates.


Laird LTM-6000D INERTIA Bidirectional All Format Media Converter

http://www.lairdtelemedia.com/Product.asp?baseItem=LTM%2D6000D&cat=VIDEOEQUIP&subcat=VIDPROCESS&prodClass=MEDIACON&mfg=&search=0&off=
 
You can sync up multiple cameras or even send Timecode to an audio recorder like Pro Tools but:

Still won't take care of the online/offline workflow. You need tape. When you down convert (in the HVX) from P2 to DV Tape the time code does not match - plus, you can't associate your project/session to a P2 card so there's no easy way to get an EDL.

Im not saying it can't be done, but noone stepped forward to say they have a full proof way (that doesn't involve going to tape).
 
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