ACN-TL
experience quality
.
Rev. 6.00
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25
To ease the setup process we have condensed a little guideline for the most common camera types.
However, camera market is moving fast and the latest technology of today may be obsolete by
tomorrow. Also, manufacturers frequently update the firmware on their products (see Panasonic), so it
is nearly impossible to give a comprehensive and bullet prove advice which setting is 100% correct for a
specific production. So, we cannot not claim or grant any liability this to be complete or correct and if in
doubt, always refer t
o the specific camera’s manual and
should you find inconsistencies or can provide
additional information, we would welcome your input to further improve this list.
ARRI
: TC only. Being the one and only camera brand currently on the market that can actually sync to
external
TC, it doesn’t have o
r require genlock input. In TC/Options select
“Free Run”
as Run Mode and
“Regenerate”
as Mode. On Amira and Alexa Mini additionally navigate to System/Sensor/Genlock Sync
select “TC In”.
Blackmagic Ursa
: As these cameras only support either TC or genlock, TC is the only option.
Canon C Series
: 1080P. XF legacy cameras or mode will require 59.97i/60i when shooting at 23.98/24.
Panasonic
: 1080i/PsF. Newer models/firmware have been reported to support 1080P.
Panavision DXL
: Lockit inbuilt, no external TC/Sync required. Set to the same ACN channel and run a C-
Jam Master to ensure TC is rejammed after power breaks.
RED DSMC 1&2
: 1080P. Set HDSDI out to
“A
uto
”
Sony
: 1080i/PsF
•
Note: Sony won’
t operate at 24 but 23.98, so always use 1080i 47.95 on cinematic
productions.
DSLRs and non-timecode cameras
: These require timecodde to be recorded on one of the audio
tracks. As most of these cameras only provide mic level inputs, the line or TTL level TC signal needs to
be padded down before going into the camera. TinyLockit and NanoLockit have built-in padding
circuitries, other units will require padding via cable. The correct level varies from the application. While
-10dB FS (below maximum) is ideal, this may still lead to the TC signal bleeding into the adjacent
channel with nasty noise if a (guide) audio track should be recorded on the second track of a DSLR. In
this case go as low as necessary but keep as high as possible. AVID and BMD daVinci Resolve natively
support handling TC on audio track while others like FinalCut or Premiere require external tools to
prepare the material for proper ingest.
