Evan Daum wrote:How much are you charging for this unit Baz?
There are 2 versions;Event Logger is the standard version - US$325
This uses the built in timecode that the ATEM generates.
Event Logger422 is the enhanced version - US$495
This can use either the built in timecode that the ATEM generates or incoming timecode read from the RS422 port of a recording deck.
Evan Daum wrote:Also, if you use it with a TVS, where would the TC be derived from? Just TC from when it was turned on?
With all the older ATEM's the timecode is internally generated, which starts at zero from power up.
With the newer ATEM's (4k versions) that have timecode in/out connectors, the internal timecode is used but that can be locked to any incoming timecode the ATEM receives. On the older ATEMs that have timecode in/out connectors BMD never got that going (at least up to v6.7). Older firmware on the ATEM 4k never had the 24fps timecode working but they fixed that not so long ago.
Evan Daum wrote:How do I tie that back to the camera files?
The Event logger has the ability to offset the timecodes on export to EDL.
The usual way to do this is to use a visual cue (camera flash etc) that all the camera's can see and then use their individual timecodes to offset the ATEM timecode. I use an iPhone clapperboard app and just get a quick shot of the screen on each camera. But of course different shoots would require different styles but its all a workaround. Of course you could also just offset each camera in the timeline once sync is determined. (really easy in PremCC multcam mode)
But when using the later ATEM's you could send the ATEM timecode out to each camera/deck, providing you spent the gazzillions of dollars buying that type of equipment.
In the demo you see the exported EDL being loaded into a FCP7 timeline which then appears as offline media. If you export an EDL from the Event Logger without making any offset adjustments you can lay up the main video record (output of the ATEM) and lining up '1st cut'. Then the rest of the cuts and dissolves will be in place. Then all you have to do is lay on top all the other camera recordings iso's) and sync them up either visually in the edit program or using something like 'Pluraleyes' if the edit program does not have audiotrack auto syncing like PremCC has.
In my workflow I use a Hyperdeck studio to feed the RS422 connection on the EventLogger422.
On bigger jobs where I have all camera's that have timecode in (ala Sony EX3) I use a ATEM 4k and take the timecode out and feed into the local decks and out thru a (barely legal) FM radio transmitter on 88.8Mhz and have small FM radio's at each camera feeding the timecode inputs. Very effective! I sometimes run cables too if the runs are not too long, but really, nowdays, its not that hard to sync up a timeline; its only when you get a cameraman who thinks he is using filmstock and persistently buttons off and on. With those type of cameramen around is good reason never to ban guns.
In summary, the most important thing you need is the cuts and dissolves sequence into a timeline; the rest is relatively easy, providing you have the correct workflow.
I hope the above helps a little to understand its usage.
Baz
Mon May 02, 2016 5:37 am
