There is a signal interpreted as timecode by some tools, but not by others.
#Ultrascope vs scopebox mp4#
mp4 files from within the clutter of media card folders and take these files straight into an NLE, you will get varying results. In some cases, there is no proper timebase within the files, so time itself is “rubbery” – meaning, a frame of time varies slightly in true duration from one frame to the next. The reason is that these systems record long-GOP media without valid timecode. It is not fine when coming from a Canon 5D, DJI, iPhone, Sony A7S, etc. Native media is fine when you are talking about ARRI ALEXA, Canon C300 or even RED files. As an editor you are most likely to receive a drive with organized copies of the camera media cards, but still with the media in its native form. Granted a DIT could do all of this, but in my experience, the person being called a DIT is generally just someone who copies/backs-up the camera cards onto hard drives to bring back from the shoot. The norm these days is for the production team to use a whole potpourri of professional and prosumer cameras, so it’s really up to the editor to straighten this out before the edit begins. Although most editing application manufacturers like to tout how you can just go from camera to edit with native media, most editors know that’s a pretty frustrating way to work.
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