Timecode System and Slate Help

[James0b57]

If the Sound Devices allows you to add a prefix to the track numbers, that is better than the generic T001, T002... numbering. That works better for computer archiving. That way you don't end up with dozens of "T001" files all over the place in you PC.

[mark sounds]

In tv when we are running timecode with multiple cameras and a harddisk recorder we use free run. There shouldn't be any need to have cables. Once you jam gear it should be able to hold time code for at least 6 hours. (re jam at lunch to be safe). If I was running record run I would reset the timecode to 0 every day, or every tape in the case of a camera. Granted this is all with gear that can be jam synced to each other. But if I was running timecode to a smart slate for a film shoot I'd still go with free run. make sure all your gear is set to run at the same frame rate, jam and you should be good to go

I'm on a show right now using the 744T. We make a daily folder every day and reset our takes so each day has its own folder starting with take 1.

[bigcitysound]

hey James

With Video, yes if the camera and your 702 are at the same frame rate and in free run or time of day mode then the offset should stay the same throughout.

However that is not a standard way to do things more often we use lockit or sync boxes on the camera. Check Denecke, Inc. - Home of The Industry Standard For Electronic Time Code Slates
There is the SB3 which can be jammed from your recorder and then feeds TC to the input on the camera or for HD there is the SBT which again is jammed from the recorder and then feeds TC and Video sync if you are using an HD camera this is important.

Usually with video shoots the audio is recorded on the camera anyway and your 702 tracks would be backup unless they specifically tell you that the external recorder is primary and then you would still want to send audio to the camera for them to edit with. If the latter is the case it can be good to send an audio mix to audio channel 1 on the camera and the timecode from your recorder to the other audio channel both by reliable wireless link such as Lectrosonics. This TC on the audio track can be recognized and used if they are using the Avid editing system not for FCP as far as I know.
Another scenario is using a reliable wireless link to send the record run TC from the camera to your recorder and seting it to trigger into record when it sees advancing TC, thus you and the camera have the same record run TC.

For film we jam a timecode slates and show it to the camera and clap the sticks too, very simple. The frame rate you set on the 702T depends on what the transfer house is doing.. are they converting it to PAL video? NTSC video? etc Usually the camera is running at 24fps and you will run recorder at 30fps.

There are some good books out there also like those from Jay Rose and Tomlinson Holman. Oh and you'll find alot more filmcentric knowledge and people with advice on the google group recording.arts.movies.production.sound

Best,

JC