syncing

filmjedi wrote on 4/15/2003, 3:12 PM
hey everyone, just one quick question to run by you guys. I am about to start editing a short film in vegas 4. The pix was shot on pd-150 and sound recorded separatly on a dat. After i sync each shot, i am going to re-render each clip out married to that good DAT audio. My question is this.

lets say the shot on tape 4 started at timecode 34:45:26.02 and i capture about a minute after that. after is sync it, i will really need that same timecode, and I havent been able to get vegas to render the new pix at that timecode, its goes back to 00:00:00.00 anyone know a way to fix this?

Comments

bakerja wrote on 4/16/2003, 8:14 AM
After reading your question, I thought the fix was simply changing the ruler start time in project properties. However, when I tried this, I got the same results as filmjedi. All new renders tc start at 00:00:00:00. This really hasn't been an issue for me so far, but I would like to know if it is possible to render a file keeping the timeline timecode.

JAB
Tyler.Durden wrote on 4/16/2003, 9:00 AM
Hi all,

For syncing purposes within Vegas, you can set the TC for the media to "Custom" in the properties panel.

When printing/outputting the code that is written is usually up to the recording device; when rendering, TC will usually start at zero.


hth, mph
bakerja wrote on 4/16/2003, 9:13 AM
Bummer,

I guess the workaround is to write down your offsets before rendering and then use custom TC for the media.

JAB
filmjedi wrote on 4/16/2003, 12:16 PM
yeah, that is really bad...There has to be a way for them to ensure that my timecode will stay true.
filmjedi wrote on 4/16/2003, 8:52 PM
also, my real dilema is this. i am importing a good 5 hours of footage for this project. then i am going to manually sync each shot to the slate, no big deal. then i am going to marry the video and audio together by re-rendering them out. no big deal, i have plenty of hard drive space (280 gigs, he he he) but in tha tprocess i am going to re-set all the clips "timecode" back to zero for each clip, so I no longer have a reference to my original on the tape, unless i manually type in the original timecode for each shot, which will take a LONG TIME and drive myself and my intern up the wall... and I need the timecode in case i have to batch re-dig my media in case something happens to my system, AND my EDL will be all messed up, cause each shot will be starting with timecode 00:00:00.00 and if i decide to have it all imported uncompressed into an avid or similar system for final output....im kinda screwed.......

any ideas? I can get around fine, and I doubt I will be able to get it thrown on an avid uncompressed, theres no budget for that, but It'd be cool to have as an option, because i KNOW I will want to do this in the future.

ben
Tyler.Durden wrote on 4/16/2003, 9:51 PM
Hi Jedi,

Shooting on a PD150... That's DV right? Yer marrying DAT audio to video prior to editing, right?

The resulting married files printed to tape will have no generational loss and could be used in yer Vegas edit and any other edit too. The TC offset you might use in Vegas (I assume you need to offset to match yer field logs, eh... otherwise why bother?) can be used in other systems.

AFAIK, uncompressed has no advantage over DV-DV throughput... that is to say, uncompressed DV is no better than DV.?

BTW,
"...i am importing a good 5 hours of footage for this project. then i am going to manually sync each shot to the slate, no big deal. then i am going to marry the video and audio together by re-rendering them out. no big deal,..."

But typing in the TC for a handful of DV tapes is too much? (five hours on how many reels... 6-9?)


Yer thoughts?

mph
filmjedi wrote on 4/16/2003, 9:59 PM
i believe that they have 8 dat tapes and 6 reels. It's just crazy confusing. the only reason I want to potentially, however won't for this project due to budget, upgrade to uncompressed, is that at my studio, we do a lot of color correction with discreet combustion 2.0, and since the vegas codec (which rocks) isn';t compatable with discreet yet, we'd rather color correct uncompressed, rahter than rendering each clip out uncompressed after it's already been captured vegas codec, so were cross codecing and it seems to get unneccessarily muddy.

b en
filmjedi wrote on 4/16/2003, 10:09 PM
and as for the manually typing in timecode, etc, what i meant by that but forgot to type in, was to get the original tape timecode from the original clip, and type in "new" timecode into the rendered clip which is now married to the audio, because they recorded teh both separatly.

see the dilema....the files that i edit with, due to the fact that they have all been rendered out, with married audio, have no timecode, so the only way to get that original timecode is if i manually type it into each clip using the custom timecode optiuon........
Tyler.Durden wrote on 4/16/2003, 10:12 PM
Hi,

Another option is to capture using Scenalyzer Pro and the Main Concept DV codec ( it is also very good). You can then color correct pre or post Vegas without much concern of degradation.

FWIW, the color correction in V4 is quite good.

Re TC, if you are not matching to field logs, then you could marry the audio for each reel, Print each roll to tape and get busy... the new master tapes just have TC that starts at zero; if you name your reels properly, life should be fine.



hth, mph
filmjedi wrote on 4/16/2003, 10:22 PM
thats a good point, very very good point, thanks for the heads up on that. awesome, my life just got a tad happier!

ben
filmjedi wrote on 4/16/2003, 10:25 PM
and as for color correction, we have a full time combustion guy at our studio, and he wants to do it all in combustion, we do lots of compositing, and since this film, the pd150 one is a vampure movie, we have to do a lot of small compositing, like removing reflections and such, and combustion just has sooo many options for color correcting, and we have all sorts of custom built templates etc, we really need to go through combustion, plus then we can charge for it, LOL

take care

ben