One very under utilized feature in both Avid Media Composer and Apple Final Cut Pro is the software's ability to assign an auxiliary timecode to clips. An auxiliary timecode is basically a fake, user-assignable timecode track that can be set to any timecode the editor desires.
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Comments (8) for "How and When to Use Auxiliary Timecode"
1.
Auxiliary timecode can be a big help once you've figured out how everything syncs up. We have developed software to automatically sync footage for those cases where normal timecode isn't available. More info here: http://www.singularsoftware.com/autosync/index.html
Posted by Bruce Sharpe on Tuesday, February 3, 2009 @ 07:02 PM
2.
Recording an LTC to one of the audio channels can be decoded with "read audio timecode" in Media Composer and the timecode is stored in the AuxTC1 column. From there, do a group clip - low cost way to sync cameras for multicamera.
Posted by Michael on Friday, February 6, 2009 @ 08:10 PM
3.
Thanks for this Scott.
I often online trailers that have initially been cut from a DVD with no matching TC window. (Why? I don't know...) This means I have to overcut with proper footage once I get digibetas or tapes from clients.
Aux TC is invaluable in this process, allowing me to match frame and replace edit with relative ease.
Posted by Piri on Wednesday, February 11, 2009 @ 07:03 PM
4.
The problem in FCP is that if you make subclips of all the takes, when you change the aux timecode of one it ripples a change in the aux timecode through all the other subclips made from the same master clip. Not good.
Any ideas how to get round this?
Posted by Guy on Thursday, March 12, 2009 @ 06:30 AM
5.
Guy, you have run head first into one of FCP's big shortcomings and oversites with it's subclipping/aux timecode. Not a big deal with file based cams but if you are coming from tape then the ripple changes is a killer. The only solution is to capture each take individually as a masterclip or export the sub-clips as a new master clip. Pain in the ass indeed. Also complain to Apple so maybe they will fix it! Avid doesn't do this.
Posted by Scott Simmons on Friday, April 24, 2009 @ 10:22 AM
6.
Using aux timecode is just like classic user bits in SMPTE. If you optimally use the structure, you benefit. Case in point: subclips. With all the log markers available, editors should resist the urge to subclip. Master clips' relationship to affiliate (timeline) clips can be exploited globally in very clever ways if you don't confuse the archive with subbing, which is really obsolete. The industry is moving towards metadata amendment which preserves the integrity of the original (raw) captured data. Eliminating subclips from the workflow greatly simplifies and improves the storage performance and accuracy of the file's modifications. Less noise = better signal.
Posted by M A Krupnick on Friday, May 22, 2009 @ 09:42 PM
7.
MA, can you explain that a bit more? I have never ever had any issue ever with sub-clipping in Avid. And that's through tons of online finishing sessions. The same can't be said for Final Cut Pro subclips.
Posted by Scott Simmons on Sunday, May 24, 2009 @ 05:54 PM
8.
There is a way to do this very easily, on Avid at least.
After syncing the non-timecoded
roving camera's takes, just do
a QT SAS export/import
of the whole track so that you don't waste even more time fixing those 55 different clips in order to be able to create a usable group clip. You'll just fix 1 clip, now with black between takes. Problem solved.
Posted by Miles on Thursday, November 25, 2010 @ 01:03 AM
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