dealing with timecode
So, I'm a wedding videographer, and as such, we always shoot at least two cameras for the whole 8-12hr day of an event (frequently shooting things at the same time). There are typically 2, and sometimes 3, shooters working each event (running two Panasonic AG-HMC150's), but the cameras are completely independent of each other while in the field. The biggest issue we have is trying to find the easiest way to way keep everything somewhat in sync (so I have less to do in the editing chair in post). There is almost never an opportunity to use any sort of clapboard on site to have easy sync points, so I have had to resort to finding things that each camera got a shot of from their angle.
Recently, I discovered that I could set my camera to "free run" timecode, and manually change it to be pretty close to the actual time-of-day. Once ingested into FCP, I sort each camera's clips by timecode, and everything ends up (close to) linear from start to finish (woot!). This solves most of my issues with sorting and organizing, but when it comes to syncing angles for multiclipping, the timecode is ALWAYS just a little bit off. They are close enough that I only have to change the timecode by a few minutes in order to be in sync, but the problem is that I still have to change it on EACH clip....
Here's my question:
Is there a way I can select all the clips from a particular reel (e.g. camera angle/imported card) and change the timecode on ALL of them at the same time?
As I said, I know this can be done on each individual clip, but this becomes quite tedious very quickly......Is this something that has to be done on import?
*My ingest workflow is AVCHD transcoded as ProRes Proxy in FCP studio 7*
Thanks in advance for any help!
Try a keyword search for "time code offset". That might get you in the neighborhood. I often use time of day time code to roughly keep multiple cams in synch, or to at least make key events easily loggable and searchable by time of day, to notes kept by anybody with a wristwatch. I find that even without synching all the cameras exactly (by chaining the TC input of the second from the TCG output of the first, and so on) that as long as it gets me within two or three seconds of where it needs to be, I can quickly finish synching by looking at the waveforms and bumping one of the tracks with single keystrokes until they line up.