SD 702T to RED Timecode Rate/Mode at DVinfo.net

Zack Allen · November 19th, 2009, 01:40 PM

I got a 3 week shoot coming up, and I'll be sound mixing for a 2x RED set up. I'll be using my SD 702T as the timccode (TC) master to sync the two RED's and another digital recorder (R-4 Pro, for extra iso tracks). The film is to be for NTSC broadcast, so both RED's will be shooting at 23.98.

Going over the 702Ts' manual about optimal TC settings, my thoughts were that I run the TC gen in Free Run Mode, and the TC Gen Rate set at 47.952(F).

I'm still a little confused on the difference between the usage of 47.952F vs. 48.048F relative to what the RED's are set at. Maybe another Sound Devices user can help clarify for me?

My other question has to do with the time period of our shoot (3 weeks) and using the Free Run Mode for the TC. Since the TC Gen clock will repeat every 24 hours, how is the editor software able to distinguish files that get stamped with similar TC from day 1 versus day 8? Maybe I'm missing the fact there is also meta data of the date files were recorded too? (I guess that would solve my question).

ie:

Day 1 - Scene 33, Take 2, TC start (01:20:05:11) TC end (01:22:10:03)

Day 8 - Scene 144, Take 1, TC start (01:20:05:11) TC end (01:22:10:03)

I haven't run a long shoot with TC sync the entire time yet, but I do know it's importance and necessity from a post point of view, so any clarification on my example would be greatly appreciated.

Jeffery Magat · November 21st, 2009, 08:52 AM

I've never sync'ed two REDs together, but from experience it doesn't matter if the timecode overlaps over different days. Post workflows can handle those easily. I'd be reluctant to have timecode overlaps within the same day though.

You shouldn't have to use anything other than 48000 for your sample rate unless post tells you otherwise. The reason for those 47.952 and 48.048 is for pullups and pulldowns in post.

All these questions can be answered by calling the post house and finding out what their specs are. The RED manual has some good info on how to setup clock-it boxes with the RED and the 702T manual does have some information regarding the Fostex sample rates as well.

Zack Allen · December 7th, 2009, 02:11 AM

Wanted to post an update of how this turned out. Both RED's shot at 23.98, I used my 702T as master TC clock to jam both RED's using 2 ACL202CT's @ 23.976. These boxes worked flawless and was very happy once we locked up some shots and sound with frame accurate sync.

November 19th, 2009, 01:40 PM	#1
Zack Allen Regular Crew Join Date: Sep 2009 Location: Fresno,CA Posts: 42	SD 702T to RED Timecode Rate/Mode I got a 3 week shoot coming up, and I'll be sound mixing for a 2x RED set up. I'll be using my SD 702T as the timccode (TC) master to sync the two RED's and another digital recorder (R-4 Pro, for extra iso tracks). The film is to be for NTSC broadcast, so both RED's will be shooting at 23.98. Going over the 702Ts' manual about optimal TC settings, my thoughts were that I run the TC gen in Free Run Mode, and the TC Gen Rate set at 47.952(F). I'm still a little confused on the difference between the usage of 47.952F vs. 48.048F relative to what the RED's are set at. Maybe another Sound Devices user can help clarify for me? My other question has to do with the time period of our shoot (3 weeks) and using the Free Run Mode for the TC. Since the TC Gen clock will repeat every 24 hours, how is the editor software able to distinguish files that get stamped with similar TC from day 1 versus day 8? Maybe I'm missing the fact there is also meta data of the date files were recorded too? (I guess that would solve my question). ie: Day 1 - Scene 33, Take 2, TC start (01:20:05:11) TC end (01:22:10:03) Day 8 - Scene 144, Take 1, TC start (01:20:05:11) TC end (01:22:10:03) I haven't run a long shoot with TC sync the entire time yet, but I do know it's importance and necessity from a post point of view, so any clarification on my example would be greatly appreciated. __________________ www.soundgeekproductions.com

December 7th, 2009, 02:11 AM	#3
Zack Allen Regular Crew Join Date: Sep 2009 Location: Fresno,CA Posts: 42	Wanted to post an update of how this turned out. Both RED's shot at 23.98, I used my 702T as master TC clock to jam both RED's using 2 ACL202CT's @ 23.976. These boxes worked flawless and was very happy once we locked up some shots and sound with frame accurate sync. __________________ www.soundgeekproductions.com

November 21st, 2009, 08:52 AM	#2
Jeffery Magat Regular Crew Join Date: Feb 2007 Location: Toronto, ON Posts: 186	I've never sync'ed two REDs together, but from experience it doesn't matter if the timecode overlaps over different days. Post workflows can handle those easily. I'd be reluctant to have timecode overlaps within the same day though. You shouldn't have to use anything other than 48000 for your sample rate unless post tells you otherwise. The reason for those 47.952 and 48.048 is for pullups and pulldowns in post. All these questions can be answered by calling the post house and finding out what their specs are. The RED manual has some good info on how to setup clock-it boxes with the RED and the 702T manual does have some information regarding the Fostex sample rates as well.