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[ak909]

Greg Hertfelder wrote on Sat, 21 June 2008 09:18

Quote: Not so much automation but more of a device to sync the team (Tech, camera operators, etc) by either slaving the equipments own internal clock to the house clock or by using an external clock display if the said device does not have one I suppose I understand what you are getting at. The broadcast industry's response to control is the General Purpose Interface (GPI), usually a simple contact closure that is triggered by  an automation computer. The computer may be slaved to SMPTE or GPS. For what it's worth, companies like ESE and Torpey offer Master Clock systems that can be synced to a master clock so that everyone sees the same time display (a Google search on Master Clock reveals a myriad of devices). That time display be optionally linked to Global Positioning Satellite (GPS) for atomic-clock precision.

This is pretty much what I was looking for.

[Brad Weber]

Maybe I'm misunderstanding the application but I think the problem some see is that your pastor, musicians, congregation, choir, etc. do not sync to timecode and very few services occur on a frame accurate basis.  How do you address continuing to record with timecode for post-production the sermon that runs over a bit without also then potentially triggering the next timecode based scheduled event?  If the organist starts a few seconds ahead of time do you have the hymn lyrics showing up on screen after the related passage has already been played?  Also, if you had a system all tied to timecode cues, why would you need a Stage Director giving cues, wouldn't the cues all be automated?

[Mac Kerr]

Bryan James wrote on Sun, 22 June 2008 14:30

1. Using a global timecode clock that all equipment and personal respond to is much better then having to rely on regular time clocks that 8/10 times our off by a minute or two. 2. It REALLY helps if a piece of equipment can automate itself to start whatever function it has been assigned to do at whatever point in the timecode the director would want it to start at. So instead of having A2 Joe press record at 10:30 am I can just set the machine to start recording at 00:30:00:00 after a 30sc preroll. 3.It benefits the Stage director when giving cues because he or she knows that everyone is looking at the same clock. 4. It REALLY helps during post production and OB becouse all the engineers both live and studio that I personally know work strictly with TC no matter what role or type of production they are doing. 5. Most of our equipment is TC ready so I figure lets do it..

I have been in live event production for over 35 years, doing live television broadcast, live theater, dance, concert, and corporate presentations. I have never in that time seen a show that ran off timecode. I have automated a video playback that had level and eq changes within it with timecode, and I have been involved in the studio editing video, where TC is critical, but never a live event. I have never seen an operator who takes cues off a clock, and don't expect to soon. I think we understand what you are saying, I just don't think we agree that it is a good idea.

Mac

[ak909]

Sorry I can be confusing sometimes. All the tiime.

[ak909]

Brad Weber wrote on Sun, 22 June 2008 15:59

Maybe I'm misunderstanding the application but I think the problem some see is that your pastor, musicians, congregation, choir, etc. do not sync to timecode and very few services occur on a frame accurate basis.  How do you address continuing to record with timecode for post-production the sermon that runs over a bit without also then potentially triggering the next timecode based scheduled event?  If the organist starts a few seconds ahead of time do you have the hymn lyrics showing up on screen after the related passage has already been played?  Also, if you had a system all tied to timecode cues, why would you need a Stage Director giving cues, wouldn't the cues all be automated?

Can't the two work together? I mean this is just an idea.

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