John, I have to thank you immensely for making these videos. As a now professional Filmmaker, who has no film school background but instead have a Electrical Engineering background, these speak to my soul! You make all of the technical aspects of film as fun and engaging as the artistic aspects. Thank you so much! Keep being awesome!
John, That orchestra example at the end of the video was all the explanation I needed as to why syncing is important. I do a lot of interviews and I always record the lav mic to a Zoom H4N. Then I use the nat sound from the camera to sync with the lav. I’ve never noticed syncing issues, but I’m only sitting about 5 feet away from the person so there must not be too much delay to throw my sync off. If I was a 100 feet away, I’d be having problems! Thank you.
Very good explanation of (almost) everything that goes into Time Code for video. I spent over 4 years designing and building TC equipment in the late 70's. This was the time largely before software or computers in broadcast video and when drop-frame code held sway there was a vile gnashing of teeth and cursing from editors and producers and anybody else that had to deal with it. It wasn't till the late '80s when SW would make everybody's life easier. But I noticed that you failed to mention that there is still some in-exactitude between drop-frame TC time and real time after 1 hr, after 1 day since the relationship between them incurs a repeating decimal due to the frame rate of 29.97299729972997... and cannot be easily reconciled in hardware OR software. There must also be some who are wondering why this weird frame rate exists at all. That is a convoluted story in itself.
I think I'm going to do a video explain why we still use it... not the why we have it because that's been explained a lot already. Legacy is important.
I am not even remotely in this industry but these videos are very well done and interesting. For a sponsored video I did not feel the least bit like I was watching an infomercial. So much history along with a real user perspective. Nice job.
By far the best discussion of the history of timecode ever. I lived thru many of the early ones from edge numbering to editing 2” tape. Love the new tools..
I did a local talent show and semi last minute with two cameras and occasionally pulled out my iPhone. I had room audio and mixer audio recorded direct on the mixer. And I painstakingly manually synced the whole darn thing. The worst part figuring out where I grabbed a little 10 second snippets from my phone. Having borrowed professional-ish cameras for this event and knowing that there was some sort of syncing capability but not having time do you research and implement. I also started wondering if I could rig something up and guess what I pretty much came up with the same concept on the cheap in my head over FM radio but I didn't have time to implement anything but it would've been better than manually syncing. Anything would've been better than manually syncing. This was a nice little gem of a video that I didn't get to watch yet so glad I finally dug it out of my watch later list.
Wow, time code generators have become really small since the one I saw used back in my early audio engineering classes (maybe 1990 or so) and the whole "striping" procedure.
Very interesting as always. I've had a portable SMPTE generator/reader for over a decade, never used it once for an actual project. I had been in the habit of recording LTC on my audio recorders for several years but I guess I felt it was more set-up time and the mouse clicks done in editing are about equal with the mouse clicks for lining up the slate, so I wound up ignoring the LTC tracks until I abandoned the practice all together. Am I really backwards?
Great video John! It answered several questions I've always had about timecode. I still have a ton more. Are there any native Premiere Pro external timecode sync options for camcorders such as the sony FS5?
Timecode is just metadata for Premiere. Unfortunately there's no way to read the LTC timecode embedded in an audio track in Premiere, Premiere only reads what's in the file header or a custom timecode. Tentacle systems has their own timecode reading software but it's pretty expensive ($150 I think)... all it would do is read the timecode and you'd still have to input the numbers manually (pro tip, just type the numbers theres no point in typing the colons). Pretty much the same workflow as Resolve but Resolve is free.
Not gonna lie, I've used the sync audio feature in premiere for just about everything and have had zero problems so far. But this nano lock thing would definitely make sure I'm never relying on my cameras inboard audio!
Thanks for that very informative video. When you use Davinci Resolve to convert your audio timecode to file/metadata timecode, are you exporting the full video again to take to Premiere Pro, or is some kind of XML format that you use? A video on that workflow would be an excellent topic. I have two tentacle sync E's but since I am on PC, I can only use their Tentacle Timecode Tool and it wont do the conversion of audio to metadata timecode for 10 bit footage shot on Panasonic GH5. If the DR workflow is simple enough, that could be one route to try. I tried DR 16.1.2 free version but it was also having problems with GH5 10 bit footage.
Hey there filmmaker IQ! I am in the process of shooting and editing a podcast/documentary. I had a 3 camera set up (4.6k, 6k, 4K) all connected with timecode via MixPre3ii. One of the cameras (the 4K) was on 23.976 while everything else was on 24FPS(including the mixpre3ii). The audio is out of sync and I can’t find anything online that could point me in the direction to fix it! I am on a multicam timeline in resolve and everything else is smooth other than the one camera. It’s driving me crazy and I can’t reshoot it, how can I fix this? (Summary)I have two camera shooting in 24FPS in 1 shooting 23.976 FPS all being fed a 24Fps timecode, what can I do to the camera to have the video line up with the others?
I would say just visually sync that particular camera and throw away its time code. There Isn't really a difference between 23.976 and 24 visually... But it will drift quite a bit in terms of time code. So just of ignore it
Actually a good question when you think about it. Lots of shows were just shot on film to avoid this crazy process. But for shows originating from a television studio where everything was already wired for video and live switching I think out just made more sense than replacing and relighting for film. Also remember that ESG only was around for a few years at NBC before it was streamluned by better tech.
You know, when I was a kid, I always wondered how TV stations broadcast pictures, and the first thing I thought of was a camera pointing at a screen, then I thought "Nah, that's stupid!"
Always a pleasure watching these! 👍 Have y'all folks checked out Sideways here on YT? Really cool guy, he shows how music can tell a story through film. 🎬🎼
the sound from a sound board moves at the speed of light through electricityin the audio cable which is why you don't have any sync problems. But say you were recording a drummer from 50 yards/meters away you would see a small discrepancy between when the stick hit and when the sound eventually made it to the microphone
What I got out of this: Timecodes are nit picky pain in the butt. I'll just ear it up in post, as long as it does not look and sound off, I don't care that much.
@@FilmmakerIQ No, a square wave has equal time that it is a high and equal time that it is low... it has a 50% duty cycle... the signal that you showed was a digital signal but it was not a square wave digital signals and square waves are two different things... a digital signal might be a square wave and it might not... s square wave might be a digital signal and it might not I have a signal generator that can produce it a square wave and when it does that output might conform to the criteria of a digital signal or it might not
The base clock is a square wave. "Manchester coding is a special case of binary phase-shift keying (BPSK), where the data controls the phase of a square wave carrier whose frequency is the data rate."
The same reason it couldn't be done away with in 1955 - too many people have already bought into the system to change it. Changing it is needless and would result in massive upheaval. I don't get why the oddball frame rates are such a hangup with people online. It was a brilliant workaround and it means Americans were the first to have a real serious Television industry.
I can't fathom why people who use the internet (along with computers which are most amazing calculating machines on the planet) are so afraid of the oddball frame rate of NTSC. Are you a third grader? Why this irrational fear of decimals? Seriously do you also need your food cut up into dinosaur shapes before you eat it? *Do not use even number frame rates for NTSC they are not compatible!* Always use the decimal frame rates that's the only way to ensure compatibility across all systems.
At our extremely busy film labs, the machine producing inked edge numbers was used only once in 47 years. It looks like a useless comment, Scott Marshall.
@@entertainmentexecutiI'm giving a talk on film sound and recalled your reply. So, your lab HAD an ink edge numbering machine. Was it used often before you worked there? Or did they buy it just for the one time? Maybe you can explain to me how, during editing, the sound film (e.g. full coat) was kept in sync with the picture film, if there was no way to apply numbers to the sound film? I think the inked edge numbering was typically applied when the dailies were assembled so that the picture and sound could be synchronized during editing, but was likely applied AFTER the film left the lab you worked in
I love this . How would you normally shoot a dance video being performed solo on a song played in a speaker and the talent wearing metal bell in his feet. I wish to capture the sound of the bells as well as music and shoot at different locations and also sync with camera at a location
Wow - interesting challenge there. I'll tell you what I would do given the gear I have: I would see if I could get a feed from the speaker and send that to one audio channel on my audio recorder. Then I would place two boundary mics on the dance floor and send them both to their own channels. Then I would jam the recorder to a nanolockit to feed timecode to the cameras. If you don't have the nanolockit or another timecode generator definitely record natural sound on the camera itself but know that sound takes time to travel around the room so if you're very far away the sound will be behind the visuals. Hope that helps.
Great video! I would've touched on ArriCode / AatonCode from back in the film days as well. (and your post house / developer had to be able to read it as well! As not everyone could do everything) Would've been interesting too to discuss briefly the current work being done to revise/extend/replace the current timecode standard for going into the future (although I don't see it becoming the new standard any time soon). A few more points I would have pointed out: 1) apps exist to read Aux LTC if your NLE can't read it 2) timecode is "only" a highly accurate time stamp at the start of the video file, after that point in time you're then in the dubious hands of the camera manufacturer..... for short takes (like on most movie sets) this is not a problem (so long as you've always kept a timecode box on the camera itself), the camera time is still accurate enough at the end of the take, but it is something you should keep in mind if you doing very long takes as this is where genlock can come in handy (as genlock "takes over" the camera's timings) 3) you don't even need to hook up your Nanolockit with your PC, I've used Nanolockits and never needed to do this as the Nanolockit has a handy feature where it can automatically detect the FPS setting I'm sending from my audio recorder.
The magnetic developer, was it Magna-see? I still have one can left. Used it on reel to reel audio. I think I lost a case of it in a move long ago. Is there a replacement? I used it on commodore 64 disks, credit cards, etc. In front of me now, next to my last can, an aluminium 12 inch disk from a Winchester drive the size of a dishwasher. Can see the sectors and data from Magna-see.
@@FilmmakerIQ it's just heptane. No worse than the zylene official Ampex head cleaner. Just keep your tongue out of it. You can also stretch it by wiping the magnetic particles back into the can. I used to use Scotch cello tape and stick it on a customer's invoice.
I have to say it. What a spectacular video you've just published, what a topic covering (as usual). From the historical approach to the technical aspect of the content. Now I can understand what means drop frame and non-drop frame in Premiere Sequence setup. Also, there's the final sponsored part, just IMPECCABLE and well presented. I've been seeing your videos for the last couple of years; all of them are among my favorites. Greetings from Villa Carlos Paz, Argentina.
Great video, two small points, when talking about Ampex and Quad video editing, you say that Amtec was a compensator for clock drift. Ampex does call AMTEC a "Time Element Compensator" but it's just a time base corrector allowing a machine to produce a broadcastable picture with stable sync or to allow switching of a VTR signal. It was really an updated InterSync servo system that allowed for the more accurate timing. When talking about EDITEC you mention the VR-1000 but you show a picture of a VR-1200. A fully color capable (play and record not just record) VR-1200 with EDITEC III was $87,500 in 1967, and the VR-1200 was the "Cost reduced" quad VTR form Ampex. While at NAB please check out the booth for the Museum of Broadcast Technology, they will have a Pair of RCA TK-45 color cameras and other goodies.
Just so you don't think I just pulled that out of my, well you know where. I am currently restoring a pair of Ampex VR-1200 quad machines from 1967(with EDITEC III). I happen to have the manuals for the AMTEC and InterSync right next to me.
It isn't really the same topic, but I make youtube videos using an old iphone 5c. It seems to drop video frames, and I think it expects the mpeg time codes to correct for it in the player. What I do is convert the mov files to avis at 29.97 fps first. Then I use virtual dub to correct the frame rate so the audio and video sync. Then I say to convert the frame rate to 29.97. So I get out something that is more or less audio/video synced but can drift more (at times within) if longer video segments are recorded. Took a long time to fix that.
Since I heard about the Wilhelm scream I hear it everywhere! It is that scream at 0:04 before the camera drops, right? PS: the content of your channel is absolutely fantastic and mindblowingly brilliant. So much that I made a short cameo in my latest (silly) short film, and I had to wear a "living life at 24 frames per second" bright orange T-shirt in it :D
A poor (wo)man's timecode: SMPTE timecode recorded on your phone or mp3 player and long cables. Timecode is simply a square wave on an analog signal. Record an hour or more of timecode as an mp3. Use 3.5mm Y cables to split the output to 2, 3, 4 or more outputs. Connect the mp3 player to cameras and recorders using long 3.5mm cables. While the cameras know nothing about the timecodes, your editing software or plugin can read it and make use of it. If all you are interested in is syncing tracks any auto audio align function should be able to do that. I am thinking of doing without the wires by using a wireless group headset system like used for audience audio assistance or tour guides. Plug my mp3 player into the transmitter and then plug a receiver into each camera and recorder.
Hello, I would like to ask. In the past, I was in short film production. We were having a sound engineer and a professional director of photography/filmmaker. The sound engineer used the gadgets you mention to synchronise the timecode with the filmmakers. Q: Is the use of the clapperboard necessary or is it use outdated? Does the clapperboard serve any reason today?
Because that would have meant everybody who already had a TV set would have to throw out their TV set and buy a new one for a reason that no consumer cares about. Instead all people need to do was buy an adapter. I don't understand why the internet is so hung up on the Oddball frame rate. It's a sign of success being the first major television industry in the world.
@@FilmmakerIQ Since we needed an adapter anyway for old analog TVs couldn't the 30/29.97 rate been solved there? I do understand why it was done during the deployment of NTSC color for comparability with b&w sets. No complaints there.
@@lohphat That probably would have made the adapters even more expensive. But Broadcast standards aren't just for over the air signals - they're used all sorts of Home Media to video game consoles... EVERY THING would get screwed up. But outside of a bit of trivia - what difference does it make to the consumer if it's 29.97 frames per second vs even 30? All the engineering issues have been solved - changing the frame rate up to 30 does nothing but create new compatibility problems. I mean it would be nice if Pi were an even number like 3 instead of that irrational non-repeating anomaly...
I was really hoping you'd make mention of Pilotone, which was necessary on older film cameras, which literally tethered the camera and sound recorder with a signal cable.
@@FilmmakerIQ It was before crystal controlled motors, so the cameras used governors to keep speed, but they varied a lot. Kind of like how a clockwork bolex will start losing sound sync as the take gets longer. The camera would send a signal from its motor to the audio recorder, so the sound could be speed modulated to keep sync in post.
Hi everybody! We will be releasing the Filmmaker IQ short film that we talked about in two weeks after the craziness of NAB next week!
Are you Gonna Make The Studios Series Because I Want More Episodes
yes... Fox is in the works
I'll Be Talking to You Back on My Next Request
*_One of the best and most informative sponsored video on UA-cam so far._*
John, I have to thank you immensely for making these videos. As a now professional Filmmaker, who has no film school background but instead have a Electrical Engineering background, these speak to my soul! You make all of the technical aspects of film as fun and engaging as the artistic aspects. Thank you so much! Keep being awesome!
That moment when the advertisement for the sponsor is not only smoothly integrated but an essential part of the lecture itself.
John,
That orchestra example at the end of the video was all the explanation I needed as to why syncing is important. I do a lot of interviews and I always record the lav mic to a Zoom H4N. Then I use the nat sound from the camera to sync with the lav. I’ve never noticed syncing issues, but I’m only sitting about 5 feet away from the person so there must not be too much delay to throw my sync off. If I was a 100 feet away, I’d be having problems! Thank you.
The technical level of this video was waaaaay over my head, but I still learned things and that's why I come here. Thanks again :)
You're back!!
I’m a big fan of film history! The detail you put into your research and creation of these educational videos is outstanding.
Keep 👏🏻 it 👏🏻 up!! 🤘🏻
Very good explanation of (almost) everything that goes into Time Code for video. I spent over 4 years designing and building TC equipment in the late 70's. This was the time largely before software or computers in broadcast video and when drop-frame code held sway there was a vile gnashing of teeth and cursing from editors and producers and anybody else that had to deal with it. It wasn't till the late '80s when SW would make everybody's life easier.
But I noticed that you failed to mention that there is still some in-exactitude between drop-frame TC time and real time after 1 hr, after 1 day since the relationship between them incurs a repeating decimal due to the frame rate of 29.97299729972997... and cannot be easily reconciled in hardware OR software. There must also be some who are wondering why this weird frame rate exists at all. That is a convoluted story in itself.
I think I'm going to do a video explain why we still use it... not the why we have it because that's been explained a lot already. Legacy is important.
I am not even remotely in this industry but these videos are very well done and interesting. For a sponsored video I did not feel the least bit like I was watching an infomercial. So much history along with a real user perspective. Nice job.
Thanks for the great collab John! You basically told the complete story around timecode. Hope to meet you soon at NAB!
By far the best discussion of the history of timecode ever. I lived thru many of the early ones from edge numbering to editing 2” tape. Love the new tools..
The bit on drop frame blew my mind.
Fascinating. Thank you!! Even the ad was really interesting.
I did a local talent show and semi last minute with two cameras and occasionally pulled out my iPhone. I had room audio and mixer audio recorded direct on the mixer. And I painstakingly manually synced the whole darn thing. The worst part figuring out where I grabbed a little 10 second snippets from my phone. Having borrowed professional-ish cameras for this event and knowing that there was some sort of syncing capability but not having time do you research and implement. I also started wondering if I could rig something up and guess what I pretty much came up with the same concept on the cheap in my head over FM radio but I didn't have time to implement anything but it would've been better than manually syncing. Anything would've been better than manually syncing.
This was a nice little gem of a video that I didn't get to watch yet so glad I finally dug it out of my watch later list.
Thanks for another great breakdown of a complex and very practical topic! You sir are an artist of a teacher!
Thank you John and the production team, crystal clear explanation and very enjoyable.
My God, it has been 75 years since the last history type video in Filmmaker IQ
With dropped frames?
Filmmaker IQ: The Bill Nye the Science Guy of the film industry!
Another great video John!
Yep, I lived it too from Ampex 1" days thru CMX EDL, Datatron, Umatic and the Microtime 2020 TBC. Nice job covering this topic!
Wow, time code generators have become really small since the one I saw used back in my early audio engineering classes (maybe 1990 or so) and the whole "striping" procedure.
Very interesting as always. I've had a portable SMPTE generator/reader for over a decade, never used it once for an actual project. I had been in the habit of recording LTC on my audio recorders for several years but I guess I felt it was more set-up time and the mouse clicks done in editing are about equal with the mouse clicks for lining up the slate, so I wound up ignoring the LTC tracks until I abandoned the practice all together. Am I really backwards?
Really good video! Love the history!
i love how much work goes in to these vidieos! love your vids!
That is what i was wating for!! Thank You! Exzellent als always!
Always enjoy watching your videos !
Thank you. Another reason I need to learn Avid!
Well done. Great Video. Filled some impt gaps in my knowledge.
Great video John! It answered several questions I've always had about timecode. I still have a ton more. Are there any native Premiere Pro external timecode sync options for camcorders such as the sony FS5?
Timecode is just metadata for Premiere. Unfortunately there's no way to read the LTC timecode embedded in an audio track in Premiere, Premiere only reads what's in the file header or a custom timecode. Tentacle systems has their own timecode reading software but it's pretty expensive ($150 I think)... all it would do is read the timecode and you'd still have to input the numbers manually (pro tip, just type the numbers theres no point in typing the colons). Pretty much the same workflow as Resolve but Resolve is free.
Not gonna lie, I've used the sync audio feature in premiere for just about everything and have had zero problems so far. But this nano lock thing would definitely make sure I'm never relying on my cameras inboard audio!
I've used it a lot too... but that orchestra example I gave at the end could never match based on audio alone and I tried many times
PluralEyes to the Rescue!!!
I just looove your videos!!! Thank You!
THANK YOU MEN!!!!
Wow, the kinescope adds more than 10lbs @3:35
Loved this! Thank you so much
Dense, but super interesting. Thank's for producing and sharing this.
Thanks for that very informative video. When you use Davinci Resolve to convert your audio timecode to file/metadata timecode, are you exporting the full video again to take to Premiere Pro, or is some kind of XML format that you use? A video on that workflow would be an excellent topic. I have two tentacle sync E's but since I am on PC, I can only use their Tentacle Timecode Tool and it wont do the conversion of audio to metadata timecode for 10 bit footage shot on Panasonic GH5. If the DR workflow is simple enough, that could be one route to try. I tried DR 16.1.2 free version but it was also having problems with GH5 10 bit footage.
You could export the full video back to premiere but just hand copied the timecodes back.
I used LTC for recording direct to disk with a digital mixer that locks with my Daw perfectly.
And I watch all videos with my ANC bluetooth headphones which are adding an audio lag to every perfectly synced source material ^^
Another great video!
Hey there filmmaker IQ! I am in the process of shooting and editing a podcast/documentary. I had a 3 camera set up (4.6k, 6k, 4K) all connected with timecode via MixPre3ii.
One of the cameras (the 4K) was on 23.976 while everything else was on 24FPS(including the mixpre3ii). The audio is out of sync and I can’t find anything online that could point me in the direction to fix it!
I am on a multicam timeline in resolve and everything else is smooth other than the one camera. It’s driving me crazy and I can’t reshoot it, how can I fix this?
(Summary)I have two camera shooting in 24FPS in 1 shooting 23.976 FPS all being fed a 24Fps timecode, what can I do to the camera to have the video line up with the others?
I would say just visually sync that particular camera and throw away its time code. There Isn't really a difference between 23.976 and 24 visually... But it will drift quite a bit in terms of time code. So just of ignore it
For tape splicing that eventually ended up using a Kinescope, why not just shoot on film in the first place?
Actually a good question when you think about it. Lots of shows were just shot on film to avoid this crazy process. But for shows originating from a television studio where everything was already wired for video and live switching I think out just made more sense than replacing and relighting for film. Also remember that ESG only was around for a few years at NBC before it was streamluned by better tech.
Very interesting, and I am glad I living in PAL land.
Thank you for this, it’s really helpful! By the way, what are your go-to mics for recording live sound? Just curious.
I have a matching pair of Rode NT55 from a sponsorship a while back. They are great for that kind of work. But to me the real secret is Mic placement.
You know, when I was a kid, I always wondered how TV stations broadcast pictures, and the first thing I thought of was a camera pointing at a screen, then I thought "Nah, that's stupid!"
Speaking of timecodes, what's up at 3:30?
you tell me... I have no idea.
Treat for aussies.. 22:06 sudden VB!
Always a pleasure watching these! 👍 Have y'all folks checked out Sideways here on YT? Really cool guy, he shows how music can tell a story through film. 🎬🎼
aren't key codes the same as bar codes
The color on that shirt be poppin'
Am I the only one who's distracted by the narrator being out of focus compared to the sharp green-screen matting edge?
that could be due to your viewing compression.
is there any public knowledge about what US military and intelligence used before said commercial products ?
I don't think anything was used by the military that wasn't already commercial
❤ these
Premiere still can't do it xD
Yeah... Annoying.
Boards of Canada!
Gee, I tape stand up comedy performances straight through the sound board to my camera, and I don't notice any sync issues...
the sound from a sound board moves at the speed of light through electricityin the audio cable which is why you don't have any sync problems. But say you were recording a drummer from 50 yards/meters away you would see a small discrepancy between when the stick hit and when the sound eventually made it to the microphone
@@FilmmakerIQAh! I understand now! Thanks!
right click, sync by sound. done
many times when that won't work or is off by a frame or so
@@FilmmakerIQ compensate in post. It s cheaper and easier
@@10secondsofglory33 not really easier.
What I got out of this: Timecodes are nit picky pain in the butt. I'll just ear it up in post, as long as it does not look and sound off, I don't care that much.
My brain hurts.
that was NOT a "square wave"
Actually it was a square wave but it's binary en.m.wikipedia.org/wiki/Manchester_code
@@FilmmakerIQ No, a square wave has equal time that it is a high and equal time that it is low... it has a 50% duty cycle... the signal that you showed was a digital signal but it was not a square wave
digital signals and square waves are two different things... a digital signal might be a square wave and it might not... s square wave might be a digital signal and it might not
I have a signal generator that can produce it a square wave and when it does that output might conform to the criteria of a digital signal or it might not
The base clock is a square wave.
"Manchester coding is a special case of binary phase-shift keying (BPSK), where the data controls the phase of a square wave carrier whose frequency is the data rate."
I watched the whole thing and retained 0% information. Great video, I’m gonna have to take some notes.
Now why can't 29.97 FPS be done away with already?
The same reason it couldn't be done away with in 1955 - too many people have already bought into the system to change it. Changing it is needless and would result in massive upheaval.
I don't get why the oddball frame rates are such a hangup with people online. It was a brilliant workaround and it means Americans were the first to have a real serious Television industry.
*just use PAL*, or at *least* NTSC with even seconds, plz...
NTSC only makes sense with like, CRTs and such...nowdays you should use even numbers...
I can't fathom why people who use the internet (along with computers which are most amazing calculating machines on the planet) are so afraid of the oddball frame rate of NTSC. Are you a third grader? Why this irrational fear of decimals? Seriously do you also need your food cut up into dinosaur shapes before you eat it?
*Do not use even number frame rates for NTSC they are not compatible!*
Always use the decimal frame rates that's the only way to ensure compatibility across all systems.
That's too long man. Just use Plural Eyes and you will be fine!
Plural eyes wouldn't work with my Orchestra example
You skipped over inked edge numbers
At our extremely busy film labs, the machine producing inked edge numbers was used only once in 47 years. It looks like a useless comment, Scott Marshall.
@@entertainmentexecutiI'm giving a talk on film sound and recalled your reply. So, your lab HAD an ink edge numbering machine. Was it used often before you worked there? Or did they buy it just for the one time? Maybe you can explain to me how, during editing, the sound film (e.g. full coat) was kept in sync with the picture film, if there was no way to apply numbers to the sound film? I think the inked edge numbering was typically applied when the dailies were assembled so that the picture and sound could be synchronized during editing, but was likely applied AFTER the film left the lab you worked in
I love this . How would you normally shoot a dance video being performed solo on a song played in a speaker and the talent wearing metal bell in his feet. I wish to capture the sound of the bells as well as music and shoot at different locations and also sync with camera at a location
Wow - interesting challenge there. I'll tell you what I would do given the gear I have:
I would see if I could get a feed from the speaker and send that to one audio channel on my audio recorder. Then I would place two boundary mics on the dance floor and send them both to their own channels. Then I would jam the recorder to a nanolockit to feed timecode to the cameras. If you don't have the nanolockit or another timecode generator definitely record natural sound on the camera itself but know that sound takes time to travel around the room so if you're very far away the sound will be behind the visuals.
Hope that helps.
Filmmaker IQ you are great . This definitely makes sense to me. I have great respect for you. People like you are rare.
No frames have actually been dropped to make this video.
Wow... I really did enjoy this video. Now am going to pay attention to TIMECODE...
I don't know where to start. Your videos are amazing and so informative. I have learned so much and am so thankful that you do what you do.
24 fps is dead 960 fps is th future
Great video! I would've touched on ArriCode / AatonCode from back in the film days as well. (and your post house / developer had to be able to read it as well! As not everyone could do everything) Would've been interesting too to discuss briefly the current work being done to revise/extend/replace the current timecode standard for going into the future (although I don't see it becoming the new standard any time soon).
A few more points I would have pointed out:
1) apps exist to read Aux LTC if your NLE can't read it
2) timecode is "only" a highly accurate time stamp at the start of the video file, after that point in time you're then in the dubious hands of the camera manufacturer..... for short takes (like on most movie sets) this is not a problem (so long as you've always kept a timecode box on the camera itself), the camera time is still accurate enough at the end of the take, but it is something you should keep in mind if you doing very long takes as this is where genlock can come in handy (as genlock "takes over" the camera's timings)
3) you don't even need to hook up your Nanolockit with your PC, I've used Nanolockits and never needed to do this as the Nanolockit has a handy feature where it can automatically detect the FPS setting I'm sending from my audio recorder.
I've never found filmmaking videos as good and as clear as these! Thank you so much for all the work you put in!!
2:57 Wait... Scotch Video Tape? Is there any tape they don't make? lol
ua-cam.com/video/ovUkATL4l_g/v-deo.html
The magnetic developer, was it Magna-see? I still have one can left. Used it on reel to reel audio. I think I lost a case of it in a move long ago.
Is there a replacement?
I used it on commodore 64 disks, credit cards, etc. In front of me now, next to my last can, an aluminium 12 inch disk from a Winchester drive the size of a dishwasher.
Can see the sectors and data from Magna-see.
don't know but my sourcesaid the stuff was poisonous so be careful.
@@FilmmakerIQ it's just heptane. No worse than the zylene official Ampex head cleaner.
Just keep your tongue out of it.
You can also stretch it by wiping the magnetic particles back into the can.
I used to use Scotch cello tape and stick it on a customer's invoice.
I have to say it. What a spectacular video you've just published, what a topic covering (as usual). From the historical approach to the technical aspect of the content. Now I can understand what means drop frame and non-drop frame in Premiere Sequence setup. Also, there's the final sponsored part, just IMPECCABLE and well presented.
I've been seeing your videos for the last couple of years; all of them are among my favorites. Greetings from Villa Carlos Paz, Argentina.
Great video, two small points, when talking about Ampex and Quad video editing, you say that Amtec was a compensator for clock drift. Ampex does call AMTEC a "Time Element Compensator" but it's just a time base corrector allowing a machine to produce a broadcastable picture with stable sync or to allow switching of a VTR signal. It was really an updated InterSync servo system that allowed for the more accurate timing.
When talking about EDITEC you mention the VR-1000 but you show a picture of a VR-1200. A fully color capable (play and record not just record) VR-1200 with EDITEC III was $87,500 in 1967, and the VR-1200 was the "Cost reduced" quad VTR form Ampex.
While at NAB please check out the booth for the Museum of Broadcast Technology, they will have a Pair of RCA TK-45 color cameras and other goodies.
Just so you don't think I just pulled that out of my, well you know where. I am currently restoring a pair of Ampex VR-1200 quad machines from 1967(with EDITEC III). I happen to have the manuals for the AMTEC and InterSync right next to me.
the audio fell out of sync on my computer. ;)
Best man! Thank you so, so much for those great explanations
This channel is gold
Good video i am excited for NAB this weekend
I remember making sure that my razor-blade was demagnetized before cutting so it wouldn't add noise at the slice.
now that's a great little detail I didn't think about
Thank you so much Sir :)
top video
It isn't really the same topic, but I make youtube videos using an old iphone 5c. It seems to drop video frames, and I think it expects the mpeg time codes to correct for it in the player. What I do is convert the mov files to avis at 29.97 fps first. Then I use virtual dub to correct the frame rate so the audio and video sync. Then I say to convert the frame rate to 29.97. So I get out something that is more or less audio/video synced but can drift more (at times within) if longer video segments are recorded. Took a long time to fix that.
phones are really fickle when it comes to drift especially when they star introducing variable frame rate
Now I understand my GoPro
Excellent 👌
13:52 Shouldn't it be 59.94 instead of 59.97? Great lesson :)
Yes
21:26 is that Emma Stone?
Since I heard about the Wilhelm scream I hear it everywhere! It is that scream at 0:04 before the camera drops, right?
PS: the content of your channel is absolutely fantastic and mindblowingly brilliant. So much that I made a short cameo in my latest (silly) short film, and I had to wear a "living life at 24 frames per second" bright orange T-shirt in it :D
Thank you
Great video 👍
A poor (wo)man's timecode: SMPTE timecode recorded on your phone or mp3 player and long cables. Timecode is simply a square wave on an analog signal. Record an hour or more of timecode as an mp3. Use 3.5mm Y cables to split the output to 2, 3, 4 or more outputs. Connect the mp3 player to cameras and recorders using long 3.5mm cables.
While the cameras know nothing about the timecodes, your editing software or plugin can read it and make use of it. If all you are interested in is syncing tracks any auto audio align function should be able to do that.
I am thinking of doing without the wires by using a wireless group headset system like used for audience audio assistance or tour guides. Plug my mp3 player into the transmitter and then plug a receiver into each camera and recorder.
That's sort of what these time code devices are in the first place. Good luck!
The mix of a Dslr and a zoom h6 whith this sistem is posible?
you could record LTC as an audio track on the H6 - but you would lose 1 audio track for time code..
Hello,
I would like to ask. In the past, I was in short film production. We were having a sound engineer and a professional director of photography/filmmaker. The sound engineer used the gadgets you mention to synchronise the timecode with the filmmakers.
Q: Is the use of the clapperboard necessary or is it use outdated? Does the clapperboard serve any reason today?
The clapperboard acts as a backup, but more importantly, it marks the take with a lot of important information like scene number, take number etc.
Excellent
Why didn’t we abandon 29.97 in 2008 when we converted from analog to digital broadcasts?
Because that would have meant everybody who already had a TV set would have to throw out their TV set and buy a new one for a reason that no consumer cares about. Instead all people need to do was buy an adapter.
I don't understand why the internet is so hung up on the Oddball frame rate. It's a sign of success being the first major television industry in the world.
@@FilmmakerIQ Since we needed an adapter anyway for old analog TVs couldn't the 30/29.97 rate been solved there?
I do understand why it was done during the deployment of NTSC color for comparability with b&w sets. No complaints there.
@@lohphat That probably would have made the adapters even more expensive. But Broadcast standards aren't just for over the air signals - they're used all sorts of Home Media to video game consoles... EVERY THING would get screwed up.
But outside of a bit of trivia - what difference does it make to the consumer if it's 29.97 frames per second vs even 30? All the engineering issues have been solved - changing the frame rate up to 30 does nothing but create new compatibility problems.
I mean it would be nice if Pi were an even number like 3 instead of that irrational non-repeating anomaly...
wish I could feed a timecode in my Teac Audiorecorder.... though I need both audiostreams AND the cameraaudio ...
This does give oneself a tremendous respect for audio synchronization.
I was really hoping you'd make mention of Pilotone, which was necessary on older film cameras, which literally tethered the camera and sound recorder with a signal cable.
Hadn't heard of that format before - I'll have to check it out!
@@FilmmakerIQ It was before crystal controlled motors, so the cameras used governors to keep speed, but they varied a lot. Kind of like how a clockwork bolex will start losing sound sync as the take gets longer.
The camera would send a signal from its motor to the audio recorder, so the sound could be speed modulated to keep sync in post.
Do you mind me saying that if you slowed your speech down a little you wouldn’t ‘tumble’ over so many words. Otherwise very informative.
You'd think that...
No offence intended.
Love watching how things used to be done.
Thanks a lot for your awesome content