1 Reply Latest reply on Jul 19, 2013 7:44 PM by Jim_Simon

    Is there any way to slave Premiere to incoming timecode?

    Jay Aldrich

      I have a .mov file with embedded timecode.  I recorded two channels of Ultrasonic audio (500 kHz samble rate - can even go higher, but I didn't want to take up too much recording space and wanted to save time opening files) on different software.  I have seen other people ask if you can slave it to audio software, and the response was, whay would you want to do that?  Last time I checked, Premiere doesn't support that kind of sample rate (I'm recording Dolphins here (seriously)).


      So, I have this multi-channel ultrasonic audio file with the same embedded timecode . . .


      I have an AJA I/O Express interface.  It has an LTC timecode in.  AJA has no idea what I am talking about when I ask them about it.


      I could slave the audio to Premiere, but that is not what my client wants. 


      We are recording dolphins with multiple cameras and multiple ultrasonic hydrophones.  They will be searching the audio files in different formats like spectograms.  When they see something curious in the ultrasonic sound file, they want to click just before it, press play in the ultrasonic audio software, and have the video chase to that timecode loacation so they can see what the dolphins are doing before, during, and after the sound event.


      This is not a joke, it is a real-life application - as ridiculous at it may seem to some of you.  Obviously my client is very high-profile.  I got the ultrasonic hardware/software provider to write special drivers for this application.


      Just a few years ago, it was normal to have audio tape decks chase timecode and/or have video tape decks chase timecode.


      Surely somebody is still doing this in software today.  This was very simple not that long ago.  Avid used to do it a few years ago.  Do I need to be checking there again, or is there a way for Premiere to do it?


      - Jay