Thanks Bruce, where have you been?!
 

I thought I was all alone on this one. If you haven't already, take a look at my above previous posts.


Howdy Josh. Here is a site you might want to check out: http://www.filmlook.com

This company has processed a few network shows shot on video to look like film

From our earlier chat here are some sitcoms old and new that are shot on film:

Murphy Brown
Friends
Frazier
Seinfeld?
Mad About You

I never remember to do that ff and then rewind thing when starting a tape. Does it still do any good if you've already started using the tape?

To my other buddy up there: So you can tell it's video by the framerate?

Hey, Thanks all again for giving your thoughts, especially Ralph, who I think understands my problem.

All this forwarding and rewinding sounds really simple, but when I am shooting a live event, where I over a period of 5 to 6 hours flip the cam on and off many times, I tend to forget.

I am not inserting just recording scenes.
When I batch capture this after, I do have that problem, where my continuous time code is messed up, I did nothing special, other then simply turn on the cam and start recording.

Ralph was right about the band problem, and this not being related to the striping makes sense to me, although that may not be what I wanted to hear in the end.

Cheers to you all for helping me on the way to becoming better at this.

Sjef

I used to stripe because like the Canopus DVRaptor my DV500 had issues with broken timecodes. There are two ways around having to stripe and they both have +'s a-'s.

1. If you have the time, you should use the Rec Search function on your camera (if it has it that is). Rew back to the last frame and start recording from there.

2. The easiest way, for PC users, is to use a program called Scenalyzer. It is a low cost app (US$33) and is available at www.scenalyzer.com. It will scan your tape regardless of timecode breaks and create a list of all the shots.
For those Mac users, try using IMovie as it is more forgiving of timecode breaks than FCP or AVID XDV

Possible Solution for consistent code
 

Sjef.
I hear what your saying. My earlier posts just tried explain what control (code) is and how it is used IF insert editing. Try this. If you are doing a lot of starting a stopping when recording and want to cut power for whatever reason during downtime, just PRESS and HOLD the STANDBY button located to the right of the manual white balance button until you hear the camera respond. This shuts the camera down and retains all functions (white balance, tape position, etc) that were set at shutdown/standby. To power back up just press this button again. I use it ALL the time even for 5-10 minutes of down time between takes or whatever. I've NEVER broken control(code) when using this and don't have to reset all of my calibrations. If you have to power off with the dial because of changing batteries or whatever, do what several other posters have said. Record some pad (3-5 seconds of video) to play with and overlap the last stop point to retain consistent control (code).

Mini DV and DVCam do not have CTL (control track). DVCPRO does use CTL. CTL, as you pointed out, is used mostly in linear editing. CTL differs from Time Code in that all the CTL pulses are the same. Frame accuracy can not be maintained. Time Code is unique. Each frame has a unique number, or address. Frame accuracy can be maintained.

Jeff

Control and code
 

Yes. you are indeed correct. In my own head I have always associated them as one and should have made that clear when explaining it. Because with either one if you make an assemble edit in the middle and break the control/code you're screwed! Thanks for the clarification. That is another good point that you brought up about frames being unique. If you are using a deck with with a time code card installed and it is in free run mode, then a tape playing with control track can be zeroed out with a push of the reset button and then you're lost. However, if recorded with code, that's not possible. Like you said each frame is a permanent physical address at that particular point on the tape.