Please allow me to start by saying that I do not understand timecode at all .
I am trying to wrao my mind around it, and where it falls within the project we are busy with. I have some time to learn about it now, as we are busy with a few things that give me a few days to focus on it. I am trying different tests to try and figure it our, but I am getting a little confused as a result. Here is what is happening.
1) I shoot on a R3D Scarlet. The media is labeled on the camera side, and set to reel 06 (For this test)
2) 4 pieces of footage are shot.
3) Footage is inported into RedCIneX, and exported from there as Editorials. I burn in the following information
3.1) Reel ID
3.2) Frame Number
3.3) Edge Timecode
3.4) TOD Timecode
4) I import this into Premier (I also add the above to the default Metatdata in RedCineX
5) Due to the multiple shots, the clip starts with the following burn in:
ReelID - 006, Edge Timecode - 06:01:20:09, Frame number - 0, TOD Time code - 11:36:58:19
6) I import the clip into a new timeline, and making no changes at all, export a EDL and save it.
7) If I open the EDL in notepad, I see the following:
My question is, why does there appear to be a 9 frame difference between the actual clip, and the EDL details? it is the same at the end, which is 06:01:41:06, and not 06:01:40:23?
This is just the first step to my road towards understanding the mysetries of TimeCode (at this point I feel it deserves the great Capital Letters!)
Once I start understanding this, I would like to figure out how exactly EDL files and Premier work? I have looked around for some pointers online, but am not coming up with much, and I have tested some multiple footage sequences, and the way Premier (or EDL by definition for that matter) works, I dont quite understand the way it exports the tracks - as it can only do one at a time? yet my tests dont seem to show this (Ill run through this question at a later stage I think!)
And of course, the final question I would love to figure out, is HOW important timecode is in our project. At this point, our project is destined for TV, but it is going to be presented as a complete episode. It will be sold as a complete series. Would the broadcasters still need the specific timecodes, or do we then submit a new set of timecode generated through premier?
Once again, I do apologize for the complete lack of understanding, but, we gotta start somewhere!
Do you need to send an edl to someone for conforming or grading?
I have no idea what is causing the 9 frame offset, but unless you
are needing to send an edl to someone, it seems a moot point.
And, with RedCine in your timecode workflow, it's a bit difficult to
determine exactly where things went wrong.
...our project is destined for TV, but it is going to be presented as a complete episode. It will be sold as a complete series. Would the broadcasters still need the specific timecodes...
The source timecode of your original media clips is only important
if you need it for reference in situations like described above.
Once your episodes are edited, the broadcasters will have no use
for an edl of your program.
That is possibly the best, and worst reply I have received yet! (For me of course - nothing against your reply! )
Its great, because it means I dont really need to worry about EDL or timecode, as we are running the project in house, end to end. We are editing and everything here, so it is in one system only.
Its bad, becuase I am wondering (the more I read up about EDL and Timecode) if we still dont actually need it here. Say either something goes horribly wrong with a rendered clip, or worse, the broadcasters request a specific change, or even worse, a piece of footage (other than the original, which we will of course back up in several places ((one fo these days...)) and store offsite) goes corrupt and we need the re-extract the correct selection from the original. How would we know to get the correct piece without the timecode?
To add my own possible answer - If we are doing all the work, from shoot to deliver, and we save the various projects in the various applications every step of the way, if we do lose some footage, I guess we can just replace the footage within, lets say - Premier's project, and the edits and cuts should still remain intact.
Is this correct?
We had a consultant come in to give us some advice, and he was extremely adamant about the importance of timecode, edgecode, absolute timecode etc. It was that day, that I first started getting really worried!
as for the RedCineX being in the mix, as a test, I will take a footage file directly to Premier and see if the timecode stays right. Ill update after the tests (busy with a large Mocha track, so it will be a while still....
...if we do lose some footage, I guess we can just replace the footage within, lets say - Premier's project, and the edits and cuts should still remain intact.
Is this correct?
Not only is that correct, it is the best way to do it.
We had a consultant come in to give us some advice, and he was extremely adamant about the importance of timecode, edgecode, absolute timecode etc
I'll bet that guy was 60 years old or above.
Timecode used to be much more important
in the days before non-linear editing.