Hey Phil, we have the same georgeous sounding windchimes! At around 11:30I had to spin around because I thought the wind was up outside - nice audio conversion - fooled me!
couple years ago, i busted your chops for flying the drone in your backyard because we could all see your neighbor lady in her house.. i still feel bad about that, that was my "introduction" to your channel.. (i still watch all your uploads, with the bell on and waiting for more).. i had NO idea how professional you were when i posted that.. Huge fan, love your work and your vibe.. thank you for your content!
Thanks Philip, I’m glad you made this video so I don’t have too… 32bit float literally blew my mind. Started with the f2 Bluetooth but now I’m full tentacle sync. Those little guys are very durable. I’ve completely submerged mine in water multiple times and they still work! I’ve used the stereo split cable on my last 4 doc shoots with great success. I have started to triple check that the cables are all plugged in completely because I have had timecode bleed into my on camera shotgun. I think that is also sometimes caused by moisture in the port, which obviously I should avoid. All that to say, I’m glad timecode products are improving massively!
Cheers Levi! Strangely my A1 gets audio bleed into the right channel. It’s the only camera that it’s happening with so I will have to check with Sony and get it repaired if needed. Very weird. One day camera companies will make it possible to sync their cameras together via Bluetooth for timecode. I’ve no idea why none of them have yet.
@@philipbloom it is strange that Bluetooth sync protocol isn’t standard. Set one device as master, others as slave. Done. Have you found or tried to problem solve a way to get time code audio sync’d with drone clips? My only idea was to use a mic adapter with a phone on the controller. record timecode into the phones cache with the DJI app, sync, and then try line up the cache clips with the original drone clips. I’d love a solution for timecode into drone clips. Or even a way to use time of day on the drone clips to sync in tentacle however “rough” that may be.
Discovered the Tentacle Sync prior to diving into a two year documentary series. Timecode availability for my cameras was a serious lifesaver when it came to syncing dailies.
I watched this start to finish… it all went way over my head because I’ve never shot with more than one camera at a time and all of this doesn’t apply to me at the moment but I just love the editing and the videos you make in general. They always manage to keep me interested even if I don’t understand 😂 maybe someday I’ll come back to this one and be able to make use of it though. 👏🏼👏🏼👏🏼
Mate, I don't even use regular cameras(Drone user, I found him through his drone videos) and I watch all his stuff because his videos are just that good.
This is exactly what I needed having bought the tentacle for my gopro’s without really knowing how to properly use it. The software is a great tip and I loved seeing all your kitties again 💕
I had a shoot a few days ago. Four actors, two cameras, and no sound person. Instead, I used 4 Tentacle Track e recorders on the talent, and two Tentacle Sync clocks on the cameras. I could do sound checks and monitor levels on all the talent mics from my cellphone, and at the end of the day, I had four tracks of synced audio matched up with all of my takes in a matter of seconds. Since time is money-and syncing audio any other way can turn into a huge time sink-I wholeheartedly agree Philip, that timecode is the only way to work in this day and age. The equipment is reasonable in price for all but first order of beginners, and for anyone who makes a living with video, these devices pay for themselves in as little as one or two shoots.
There is a feature in Davinci that lets one make a multi camera clip synced off either time code or audio, and so long as all the clip elements had a unique camera metadata id (can be mass entered in the media tab metadata camera field) then Davinci will create a single compound track (which is just an editable timeline) for each device("Camera") and properly offset every thing based off either time code or audio. I will point out that I've had syncing by audio fail a few times, but it's gotten much much better than it was back in, I think it was Davinci 13.
having a computer program automatically assemble a multicam sequence based off a shared timecode would have saved me so much time hack when I was filming a lot of live performances, but I just never bothered to get a good timecode setup. ironic that not wanting to do work made me do so much more work - and such is life haha
Thanks so much for producing/presenting this. I had ABSOLUTELY NO IDEA one could do this with the tiny little devices you demonstrated. Effing great! By and large when I shoot with two cameras, as during interviews, I keep both cameras going simultaneously, but here's where you don't have to be a slave to that method.
Thanks Philip for the videos. Your one of the UA-cam creators I go to when I am fighting to survive. When I am sitting here waiting for pain managment to kick in, when I am screaming into pillows so I don't wake the neighbours. Your warmth & kindness (and cats) help Your not the only UA-camr who I turn to Edd China, the Tim Traveller, Eytschpi42, are just some but I still wanted to say thanks for helping me tonight. Sadly it looks like I have another round before I can get the pain in control.
Thanks for that Philip! I've watched other videos on tentacle(just this week actually) and you simplified everything perfectly. As always, dig your work very much!!
You've sold me 💚 seeing you stop and start recordings finally made me realize the need. As well as just skipping the whole syncing audio in post thing with external wireless mics. The timebar for drones is perfect. So cool that GoPro's also read timecode
Depending on which brand you use, some of them need to be resynced during longer sessions due to the devices not necessarily remaining in sync. But, it's probably not much of an issue if you plan for it. Unless you're into very long takes with devices that are out of bluetooth range.
Thanks for this amazing Video. I use Tentacle Sync for some time now and it works perfectly. If you shoot an interview with several cameras (FX9, A1, FX6). Two cameras are usually always running from a fixed position and with one camera (A1) you can run around - switch it on and off and so on... In Davinci Resolve you can use Multicam and it automatically Syncs all cameras together giving you a Split Screen with all cameras. Once you scroll up and down you will see all of them in Sync. This is really an amazing feature. It also gives you "Read Timecode from Audio" feature and will add it to the clip. It's just so helpful in a Multicamera shoot. Well done Video - keep it going and many greetings!
Great vid! In Hollywood time code falls on the sound department. You are absolutely right about keeping the sync box connected to the camera at all times especially for power cycles and frame rate changes and it’s always something I have included in writing in the dailies workflow doc, that way no AC can push back to do it there own way. They are so small and light these days there is no more excuses for them not to ride along any camera no matter how small!
Great video, I recently started using the Tentacle sync into the mic input on a Deity D4 Mini shotgun for better scratch track and audio redundancy. Great compact low profile setup. Moves the TC to Ch.2, which works fine in Tentacle Sync Studio.
I use 3 x Tentacles and they’re one of the best investments that I’ve made. They live on the cameras (C70/XF605) and I even use them when shooting single cam because I’m rubbish at remembering to turn the Tentacles on when using multi cam if I don’t make it a habit to do it EVERY time I use the camera.
I've got 2 and one of their sound recorders. The biggest annoyance I have with them is that there isn't a built-in way of recording with just the time code generator. You can't plug a mic into it, nor is there software included that allows you to use it with a computer to sync things being recorded there. I did find that Open Broadcast Software and a USB mic input to the computer does allow for the recording on the computer at the same time as recording the audio, but the company needs to improve that aspect of the experience just because there are people who are recording audio on their computers and video with a standalone camera. Or have a bundle with one of their sync devices and one of their sound recorders. That being said, it can be solved with free software, it just unnecessarily increases the learning curve. But, I'm personally happy enough with the hardware and in the future, it should make it easy for me to keep my videos in sync with screen recordings and what I'm saying.
I thought about getting at least two Sync Es and a Track E for about a year now. On a recent job I had to use my FX6 and a rental one and I didn't get any timecode generators. In the bedinning I synced the internal clocks and set timecode to run on those. Oh boy the drift is real - they're about as precise as two mechanical clockworks... Had to clean up everything in post.. :/
Nothing like wisdom from a real professional. Pro videographer and cameraman 1st, youtuber 2nd job. Not like all these Potato heads who live their lives on youtube.... Fully love the pace of Mr Blooms videos. best of Bri - ish. yeah the yobs never pronounce the t's.
The other massive thing for me with two camera shoots is that timecode is disabled when shooting off speed int he S&Q modes, SO, if you can only jam sync between camera or a mixer the moment you shoot anything offspeed your sync is also lost and you have to rejam, making that workflow essentially pointless. But we tentacles or any external timecode generator, the second you jump back to 24p your timecode is back in sync and ready to fly. There is so many plus's not to mention having the time of day locked into every clip etc etc. Pretty much a no brainer these days.
Awesome vid on this subject, love it! I love/ hate time code as a professional sound mixer. A proper camera can accept my TC boxes, but some are glitchy, and you might have to figure it out, on Day 1. Meaning, plugging/ unplugging, power cycle...menu nightmare ( because I am not the cam op). Also, TC cables are a serious pain. My opinion is everything should be BNC in or out. But, every cam corporation has their own cables...and they change every year with new camera roll out. And they can start to get pricey...so...it becomes a bit of a pissing contest on "who" is responsible for finding the proper cable, for "their" camera. As a soundie, I suggest compromising on who is going to find the proper cable. I have the industry standard cables, so there's not a problem, but please talk to the DP a few days before (because you might have to borrow, or order a new cable), so you don't show up on Day 1 without a cable. In a pinch, you can do the audio TC signal, though, which almost every cam can accept. But bear in mind, arri and reds (sometimes)need an audio box added to the rig, to accept the audio TC as opposed to standard TC signal imbedded into picture while recording a take. Please discuss this before shoot day. I push politely to have everything discussed. 1. How many cams? 2. What SPECIFIC type of cam? 3. Need a TC slate? Every production is different, so get the deets on every question, so you can be ready to capture awesome audio on day 1! Break a leg 😎
I dont know much Timecode nor have I ever used it despite owning a tentacle track e. Gonna re watch a few more times 😅 and and start using timecode for my 3 camera sets ups for the weddings. Thanks for your fantastic reviews 😃
Terrific productions Phillip. Delivery of the detailed specs and preferences is dense yet captioned notations help to Scroll back to get that … what-E-say-Again playback or screen grab. Thanks !
And your advice is firmware-ly encoded with Hariete advice. When the Piano is enstalled, who gets to hang out in which octave, just a general non-tentacle question! And, sooooooooooo....great Phillip........
Another amazing video Philip! Watched the whole thing, and it inspired me to save up for a tentacle sync setup as my next purchase as it just looks so convenient (I didn't know about 32 bit float and how you don't have to worry about levels too, that's amazing!). I and I'm sure many others would LOVE it if you did a video specifically on how to deal with back pain as a documentary camera operator. I'm in my 30s and I have to turn down offers simply because my back won't last the whole day, as clients tend to push me beyond my limits quite frequently. I imagine at your age (no offense 😁) you probably have some wisdom and tips for us aspiring operators who want to keep filming for a long time! Thanks again for the insanely helpful videos!
Thanks Matt. Am afraid I don’t have advice for backs. I’ve not been able to take any shooting jobs this year because of my back; going out filming for YT videos is hard. To be honest I am deeply worried about the future if I can’t do my job. I can’t do YT for the rest of my life, I miss filming jobs so much! I miss other people!
@@philipbloom ah I'm really sorry to hear that. Hope that there are some exercises out there to help strengthen it so you can get back to filming again! Thanks for the reply too! 🙂
@@silbay ah interesting! I'm living in South Korea where CBD is still highly illegal unfortunately. Hopefully it gets recognized for its benefits over time here as it could probably help a lot of people!
Great video, even for people that need to read up on what TC is 🙂The first time I realized the editing world was really changing, was when someone in my class (I am an old ACI) asked what TC is! That aside - I guess the TC sync options above is a case of "good enough". Real sync means that the internal clock of the device locks to the external master. And for DSLRs or any other device using an audio track for TC, this lock does not exist. So the TC from the audio track compared to the TC embedded in the video track can be off by max a frame. I don't know if there are any other NLE than Avid MediaComposer in film projects that can adjust for this. It is called Perf Slip. But - as long as you can live with audio being one frame off, it really does not matter 🙂
GoPro "RAW" audio in Protune settings records in 4 channel 32bit WAV (definitely on the H7, I don't have anything newer). There are selectable levels of dynamic level processing, from low to high (but not off).
Maybe I can enlist Philip as the spokesperson for the petition to get the Tentacle S to market. S of course being the stereo version of the Track series of 32 bit recorders. Stunning devices. Absolutely stunning.
@@philipbloom I traded a bunch of emails with them, and they suggested something was in the works. I see you have a v3pro in stock and it is a great compliment to the vapourware S unit…..
There is a tool called LTCconvert that can read LTC timecode from an audiotrack and "patch" it into the videofile w/o the need to re-render or export anything. It's not free I think and has issues (at least my version) with the 24-bit Sony audio, but 16-bit works fine. I use it since Adobe is (again) sleeping on the job and has never implemented this function into Premiere, and probably never will ... 😐
I dunno, I think cats are the most important devices... After that, sync'ing your cameras is vitally important, because these are really computers, with some optics and a sensor attached. So multiple cameras is really a moviemaking network. Thanks for your channel and excellent advice, Philip, it's been vital to my understanding of the media.
Crediting the airlines under Sound 🤣 I didn't know about the tentacle app for syncing and exporting to XML (especially calculating higher frame rates) to use in editors. Very helpful!
No expert here but I still remember the my first attempt at recording with 4 cameras and how I thought no big deal. Way too much to type but after 2 days of swearing in front to the computer I just erased everything and said there has to be a better way. After a lot of sussing things out I ended up with 2 tentacle track E and 4 sync E. I then tried another 4 camera video and even with my limited knowledge the results made me feel like I just split the atom. The 32 bit float was such a godsend. I really like products that just work and these tentacle things do exactly that.
Life on the Catio, lol. Thanks for the good info on timecode. I noticed a GH-2 with a stereo 3D lens! I will have to dust off my GH-2 and start using it to make 3D b-roll. After I find a used 3D lens from Panasonic. The tentacle system looks good and I am very interested in 32bit float audio. You have made me dive into my wallet once again, all for a good cause I suppose.
What an entertaining and informative piece, and very timely! I’m about to invest in some timecode hardware. I’ve got to say Severus is looking 10 years younger and very settled, if that is what living in the Catio does for you, can I come and spend a week with them. Thank you Philip for another great video.
Thanks for the nice video! I do agree time code generators are very useful for multi-cam setups. For simpler setups, with only a camera and a video and/or audio recorder it is not always necessary. E.g. with the Sony A7Siii / A7iv, Atomos Ninja V and Sound Devices MixPre 3(-II) together, it is possible to have a wired HDMI connection between the 3 devices and control the other 2 devices via the camera, alleviating the need for any external time code generator. This may save costs, while achieving a similar result.
With the R5C you can use the timecode sync port, Canon accessory hotshoe mic, and 3.5mm for a wireless mic all at the same time with the internal 24-bit 4 channel audio support.
@@philipbloom Not boasting at all. It is a cleaner setup than that dongle on the fx3 for timecode (an oversight for a FX camera, imho). I don't miss the IBIS, but I have a dedicated body for photo so not exactly using it as a hybrid.
I am watching your video together with my cotton dog dog Valtteri 😂 Whenever he sees your cats he is hyperventilating 🙈 your views and thoughts are very informative as always 👌 for my FX6 I still need an external monitor or recorder 🎥 filmmaking is my passion 😉 by the way, I love cats too 😍 best cinematic greetings from germany
I wish the tentacle sync studio worked better than it does. On the surface, if it would do exactly what it advertises to do, it would be amazing - but it doesn't really work all that well. I've tried many times to use it, and it drops many clips. Even working in network tv (docu), and using a master daily clock with every camera including gopros synced and driven, for my own projects I end up doing one of two things: use the windows app or divinci to convert the audio timecode into meta timecode, then use adobe's multicam mode (which requires renaming all files on ingest) - OR - use pluraleyes, which works a treat every time. I wish there was a timecode workflow that worked as simple as it did before DSLR's and stills mirrorless cameras became youtubers' favorites for video, because timecode was always the standard. But now, for some unknown reason, it's just not that easy. Honestly, it should be as simple as dragging all your footage from each camera into their own lanes in a timeline, highlighting, and clicking, "align to timecode position." If you use Reaper for audio, Reaper has exactly this, and will instantly move any audio clip to its correct position along a timeline by the clip's timecode. All video NLE's should absolutely have something this simple. There's really no good excuse for not doing this. (Avid is the only one I know that does anything similar)
Damn! Mr Bloom! Jam syncing? Next you’ll be making the poor buggers adjust knee settings on each camera, or recording bars & tone on each and setting up each to house standards!
Brilliant piece! As I will soon be adding a 2nd camera for my work this was very informative and entertaining. The only thing I would've added is maybe a banana at the end .. that was a good, albeit possibly lost, shot across the pond. I'll be looking at the Tentacle products to add to my future budget. Thank you. Just for clarity, the first 1000 link users don't get to come hang out in your catio along with the Skillshare subscription?
Philip thank you so much for making this video! You're the first person I've seen that mentioned the sony multi-interface shoe mics and whether or not you could use timecode on these, plus the mic. Fortunately, I have a XLR-K3M so I'd still be good to go if I purchased one of these. Just wanted to say thanks again!
Hi Philip, thanks for sharing your experiences with TC. It makes perfect sense for multi-cam shots an external recording. I'm just getting into video and have already experienced a situation where I couldn't sync by waveform in DaVinci for some clips. Timecode or TC is what I'm aiming to learn how to use but not all kit is compatible without needing some workarounds. I'm pleased to learn that Tentacle Sync and Deity's TC-1s can work together, as I can see how useful a Tentacle Track E makes for a great bodypack lav recorder as long as you don't need to monitor during recording. I just bought a triple TC-1 kit. Have tested that I can jam sync to my MixPre 6ii OK and use on my Sony a7iv via one channel audiotrack on camera. I just bought a Zoom F3 as well - thinking about plant mike use or a smaller than MIXPre-6II field option when less complex sound recording is appropriate (I'm typically a one person operator). Working solo, handling separate boomed recordings is tricky unless using either a fixed boom (supported on stand) or using a locked off camera(s) on tripod(s). One issue I think I need to overcome is how to TC a Zoom F3? You mentioned Atamos's Ultra Blue for Zoom F3, but that won't jam to a Deity TC-1 easily without using a more expensive Ultra Sync 1 box (from what you said). If true then it's starting to compromise the small, light compact nature of Zoom F3 vs my MixPre-6ii which has inbuilt TC? Question: can a Zoom F3 take high quality 32 bit float (compact, good quality and easy to deploy) on 1st mono channel and be stereo linked to a 2nd mono channel receiving audio TC from a spare TC-1 box (using short 3.5mm trs jack to XLR)? Such that in DaVinci the audio TC track can be converted to metadata TC embedded with 1st channel's potentially high quality sound captured on Zoom? ie that's using one channel sound with encoded metadata TC in a similar way in which video images and scratch audio (just one channel) can be converted via DaVinci (or Tentacle's software) into metadata TC embedded video and scratch sound? If possible, this might be a useful and pragmatic workaround that obviates need to use a third TC ecosystem. NB I already have Deity TC, might yet buy into Tentacle eco system for Track-E and possibly the Tentacle 'Timebar' app, potentially on a phone supported on a regular clapper board (also potentially obviating need to buy a Deity slate). Ideally I'd just use one TC platform, two is trickier (Deity + Tentacle), but three systems is borderingon ridiculous complexity (ie adding in 2 units from Atomos Ultra Blue & Ultra Sync 1). Any thoughts if my hypothetical workaround might work OK?
A easy low budget trick for sony cameras is to use a Sony IR remote to hit enter and zero the Timecode on all Cameras at the same Time and with TC Run set to Free Run It will keep running untill zeroed again
Nobody seem to address the elephant in the room: video delay. I am using Tentacle Sync E and Track E devices and multi cameras such as Fuji X-H2S and Canon XF605 or iPhone. They all have different video delays, which also changes depending on which frame rates are used! I use the Tentacle Sync Studio 1.30 which has Offset adjustment. But alas, this is driving me batty! I can't handle different values for the different cameras and also have consistent delay calibrations. How do you handle this???
I have the Blue/Atomos system and it works quite well with my setup (GH6, G9 and BMPCC4K + Atomos V with sync addon). I also have the Zoom F2 and F3 and often use all the devices on a shoot with no issue (just lots of setup!)
@@philipbloom I definitely wish there was one. The Ninja V usually acts as my main hub so at least with that I can see what's connected but an app would be a godsend.
Hey Phillip, What’s your secret diffusion filter from 0:24? I recently added Glimmerglass from Tiffen to my collection, but I can’t say I’m too happy with it, especially on vintage lenses it really makes shadows a mush… And so the search continues.
Excellent review, many thanks. One question: how did you attach the tentacle to the Insta360 on a stick? - Looks like horse shoe adapter mounted inbetween the stick and the Insta360? - Thanks!
That’s the mic mount they do for it. You can see it clearer in the review of that camera, worth watching if you haven’t seen it especially the audio issues.
Great review! So the option to plug the tentacle sync into the headphone jack only works on cameras and not the zoom F3? I don’t really want to get an F6 but I would like to use my tentacle sync.
So I guess those days are gone for - - - Video, 4ch audio, LTC, VITC going all down 1x Sdi BNC cable? A sound guy I've worked with a few times has the tentacle kit for jamming the camera TC....he says its amazing.... Im not sure if I trust it...but I guess that's the way everything's going.
No reason not to trust it. You can see the “timecode ext” on the camera display if using a camera with timecode in or if using audio timecode you will see a high almost steady audio signal on channel 1. 🙂
As usual, great job Philip! You don't put out a lot of videos but when you do release one, I seriously have to give it my full attention from start to finish! I need some of your professional advice please sir. I am a wedding and documentary videographer and I want to incorporate timecode into my workflow. If you were me in September 2023, what timecode product(s) would you buy for my situation? I normally shoot a wedding with 3 cameras, 2 wireless lav mics for the groom and the officiant, a portable audio recorder for the DJ's sound system and sometimes a separate ambient recorder as well. I have the Sony FX6, two FX3's, the wireless DJI mics, the Tascam Portacapture X8, the TASCAM DR-40X and also the Zoom H1n. Would really appreciate it if you could give me some advice on what Timecode system(s) you think I should dive into? Keep up the great work sir!
Thanks Justin, i was looking for a note on a Mix-Pre setup. I have a Mix-Pre 6, Fuji Xt4, atomos Ninja V and work in a Windows system. I’m trying to piece together an effective time code chain. Could anyone offer insight or a resource to gain more knowledge on my options using these components?
@@ktsui6496 so what are your issues specifically? I personally would use either tentacle or deity and use audio timecode on the xt4 and ninja v using one device and connect another to your Audio Devices mix pre. You can use that as your master timecode or send timecode into it. Syncing is the pain if you have lots of camera due to windows, but easier if you are using one. You can turn the audio timecode into metadata in Davinci resolve or Avid.
@@ktsui6496 I use the Tentacle Sync on my Mix-Pre 6 with no issues. I also keep one on each device throughout the shoot. This helps to ensure no loss of frame sync IMO. Tentacle sync software will work on a Windows system, as Phillip said, it's just not as full-featured as the OSX version is. However depending on your camera system this may not even be an issue, however I honestly could not find any info on external timecode signals for the Fuji Xt4. On the Atomos Ninja you can use the timecode coming in via your SDI/HDMI cable. So if you are using the Tentacle Sync, that will get ported over. I have a Ninja+ but have never recorded with it so I do not know if it is frame accurate via the SDI/HDMI pathway when recording. Hope this helps.
On my second pass through with this video. Newish to video and only using one cam at the moment but next month will be delving into multicam shots along with boomed mics and lavs. Bc I am a noob, are you recommending one timecode device per camera and per audio device, sorta like transmitters and receivers? Thanks! #clueless
Ah gopro labs mmmm question if I install labs just to see and try it before getting any tentacles 😅 can I reset gopro to regular software? If you were using tentacles for day long shooting would you turn on at start of day sync and then just gopro it and line it all up in software later? Plus when in premiere pro do you put all the days footage on one timeline and then separate in post ? Thanks in advance. I do camping hiking vids and never know when mouth will engage 😅
Hey Phil, we have the same georgeous sounding windchimes! At around 11:30I had to spin around because I thought the wind was up outside - nice audio conversion - fooled me!
couple years ago, i busted your chops for flying the drone in your backyard because we could all see your neighbor lady in her house.. i still feel bad about that, that was my "introduction" to your channel.. (i still watch all your uploads, with the bell on and waiting for more).. i had NO idea how professional you were when i posted that.. Huge fan, love your work and your vibe.. thank you for your content!
Thanks Philip, I’m glad you made this video so I don’t have too… 32bit float literally blew my mind. Started with the f2 Bluetooth but now I’m full tentacle sync. Those little guys are very durable. I’ve completely submerged mine in water multiple times and they still work!
I’ve used the stereo split cable on my last 4 doc shoots with great success. I have started to triple check that the cables are all plugged in completely because I have had timecode bleed into my on camera shotgun. I think that is also sometimes caused by moisture in the port, which obviously I should avoid.
All that to say, I’m glad timecode products are improving massively!
Cheers Levi! Strangely my A1 gets audio bleed into the right channel. It’s the only camera that it’s happening with so I will have to check with Sony and get it repaired if needed. Very weird.
One day camera companies will make it possible to sync their cameras together via Bluetooth for timecode. I’ve no idea why none of them have yet.
@@philipbloom it is strange that Bluetooth sync protocol isn’t standard. Set one device as master, others as slave. Done.
Have you found or tried to problem solve a way to get time code audio sync’d with drone clips?
My only idea was to use a mic adapter with a phone on the controller. record timecode into the phones cache with the DJI app, sync, and then try line up the cache clips with the original drone clips.
I’d love a solution for timecode into drone clips. Or even a way to use time of day on the drone clips to sync in tentacle however “rough” that may be.
So glad to see the Catio is getting some use as a film studio
It makes it a business expense! I should do a TikTok on that! 🤪
Discovered the Tentacle Sync prior to diving into a two year documentary series. Timecode availability for my cameras was a serious lifesaver when it came to syncing dailies.
Glad we could help ; )
Yeah, I already use these devices in my work and have for years but I still watched the whole video because I always enjoy your videos so much!
I watched this start to finish… it all went way over my head because I’ve never shot with more than one camera at a time and all of this doesn’t apply to me at the moment but I just love the editing and the videos you make in general. They always manage to keep me interested even if I don’t understand 😂 maybe someday I’ll come back to this one and be able to make use of it though. 👏🏼👏🏼👏🏼
Mate, I don't even use regular cameras(Drone user, I found him through his drone videos) and I watch all his stuff because his videos are just that good.
This is exactly what I needed having bought the tentacle for my gopro’s without really knowing how to properly use it. The software is a great tip and I loved seeing all your kitties again 💕
I had a shoot a few days ago. Four actors, two cameras, and no sound person. Instead, I used 4 Tentacle Track e recorders on the talent, and two Tentacle Sync clocks on the cameras. I could do sound checks and monitor levels on all the talent mics from my cellphone, and at the end of the day, I had four tracks of synced audio matched up with all of my takes in a matter of seconds. Since time is money-and syncing audio any other way can turn into a huge time sink-I wholeheartedly agree Philip, that timecode is the only way to work in this day and age. The equipment is reasonable in price for all but first order of beginners, and for anyone who makes a living with video, these devices pay for themselves in as little as one or two shoots.
Glad that we could make life easier. Many thanks
Hands down, you're my favorite UA-camr Bloom. Thank you for sharing!
There is a feature in Davinci that lets one make a multi camera clip synced off either time code or audio, and so long as all the clip elements had a unique camera metadata id (can be mass entered in the media tab metadata camera field) then Davinci will create a single compound track (which is just an editable timeline) for each device("Camera") and properly offset every thing based off either time code or audio. I will point out that I've had syncing by audio fail a few times, but it's gotten much much better than it was back in, I think it was Davinci 13.
Yep I found this after making this video
Does it still strugle to sync ? I use premier pro but if I get the tc1s I was thinking of buying davinvi resolve
having a computer program automatically assemble a multicam sequence based off a shared timecode would have saved me so much time hack when I was filming a lot of live performances, but I just never bothered to get a good timecode setup. ironic that not wanting to do work made me do so much more work - and such is life haha
Thanks so much for producing/presenting this. I had ABSOLUTELY NO IDEA one could do this with the tiny little devices you demonstrated. Effing great! By and large when I shoot with two cameras, as during interviews, I keep both cameras going simultaneously, but here's where you don't have to be a slave to that method.
Thanks Philip for the videos. Your one of the UA-cam creators I go to when I am fighting to survive. When I am sitting here waiting for pain managment to kick in, when I am screaming into pillows so I don't wake the neighbours. Your warmth & kindness (and cats) help Your not the only UA-camr who I turn to Edd China, the Tim Traveller, Eytschpi42, are just some but I still wanted to say thanks for helping me tonight.
Sadly it looks like I have another round before I can get the pain in control.
Thanks for that Philip! I've watched other videos on tentacle(just this week actually) and you simplified everything perfectly. As always, dig your work very much!!
Thanks!
You've sold me 💚 seeing you stop and start recordings finally made me realize the need. As well as just skipping the whole syncing audio in post thing with external wireless mics. The timebar for drones is perfect. So cool that GoPro's also read timecode
Depending on which brand you use, some of them need to be resynced during longer sessions due to the devices not necessarily remaining in sync. But, it's probably not much of an issue if you plan for it. Unless you're into very long takes with devices that are out of bluetooth range.
I have been using Tentacle sync devices for the past 4 year
It's amazing and made my life easier
I wish I knew about them sooner!
we're happy, that we could make life easier
Thanks for this amazing Video. I use Tentacle Sync for some time now and it works perfectly. If you shoot an interview with several cameras (FX9, A1, FX6). Two cameras are usually always running from a fixed position and with one camera (A1) you can run around - switch it on and off and so on... In Davinci Resolve you can use Multicam and it automatically Syncs all cameras together giving you a Split Screen with all cameras. Once you scroll up and down you will see all of them in Sync. This is really an amazing feature. It also gives you "Read Timecode from Audio" feature and will add it to the clip. It's just so helpful in a Multicamera shoot. Well done Video - keep it going and many greetings!
thanks for your kind words
Great vid! In Hollywood time code falls on the sound department. You are absolutely right about keeping the sync box connected to the camera at all times especially for power cycles and frame rate changes and it’s always something I have included in writing in the dailies workflow doc, that way no AC can push back to do it there own way. They are so small and light these days there is no more excuses for them not to ride along any camera no matter how small!
Hey Michael! It was a pleasure meeting you last year in ATL, mixer-mixer in the union hall. Love your content sir.
@@jasonauric You as well, thank you Jason!
Great video, I recently started using the Tentacle sync into the mic input on a Deity D4 Mini shotgun for better scratch track and audio redundancy. Great compact low profile setup. Moves the TC to Ch.2, which works fine in Tentacle Sync Studio.
Thank you for the video. I've just started researching time code so good timing
I use 3 x Tentacles and they’re one of the best investments that I’ve made.
They live on the cameras (C70/XF605) and I even use them when shooting single cam because I’m rubbish at remembering to turn the Tentacles on when using multi cam if I don’t make it a habit to do it EVERY time I use the camera.
Glad, we can make set life easier : )
I've got 2 and one of their sound recorders. The biggest annoyance I have with them is that there isn't a built-in way of recording with just the time code generator. You can't plug a mic into it, nor is there software included that allows you to use it with a computer to sync things being recorded there. I did find that Open Broadcast Software and a USB mic input to the computer does allow for the recording on the computer at the same time as recording the audio, but the company needs to improve that aspect of the experience just because there are people who are recording audio on their computers and video with a standalone camera. Or have a bundle with one of their sync devices and one of their sound recorders.
That being said, it can be solved with free software, it just unnecessarily increases the learning curve. But, I'm personally happy enough with the hardware and in the future, it should make it easy for me to keep my videos in sync with screen recordings and what I'm saying.
I thought about getting at least two Sync Es and a Track E for about a year now. On a recent job I had to use my FX6 and a rental one and I didn't get any timecode generators. In the bedinning I synced the internal clocks and set timecode to run on those. Oh boy the drift is real - they're about as precise as two mechanical clockworks... Had to clean up everything in post.. :/
I freaking love mine…
Tentacle is awesome, just awesome
Nothing like wisdom from a real professional. Pro videographer and cameraman 1st, youtuber 2nd job. Not like all these Potato heads who live their lives on youtube.... Fully love the pace of Mr Blooms videos. best of Bri - ish. yeah the yobs never pronounce the t's.
The other massive thing for me with two camera shoots is that timecode is disabled when shooting off speed int he S&Q modes, SO, if you can only jam sync between camera or a mixer the moment you shoot anything offspeed your sync is also lost and you have to rejam, making that workflow essentially pointless. But we tentacles or any external timecode generator, the second you jump back to 24p your timecode is back in sync and ready to fly. There is so many plus's not to mention having the time of day locked into every clip etc etc. Pretty much a no brainer these days.
Great video that helps me a lot - thanks for making and sharing Philip :)
Awesome vid on this subject, love it!
I love/ hate time code as a professional sound mixer. A proper camera can accept my TC boxes, but some are glitchy, and you might have to figure it out, on Day 1. Meaning, plugging/ unplugging, power cycle...menu nightmare ( because I am not the cam op).
Also, TC cables are a serious pain. My opinion is everything should be BNC in or out. But, every cam corporation has their own cables...and they change every year with new camera roll out. And they can start to get pricey...so...it becomes a bit of a pissing contest on "who" is responsible for finding the proper cable, for "their" camera. As a soundie, I suggest compromising on who is going to find the proper cable. I have the industry standard cables, so there's not a problem, but please talk to the DP a few days before (because you might have to borrow, or order a new cable), so you don't show up on Day 1 without a cable. In a pinch, you can do the audio TC signal, though, which almost every cam can accept. But bear in mind, arri and reds (sometimes)need an audio box added to the rig, to accept the audio TC as opposed to standard TC signal imbedded into picture while recording a take. Please discuss this before shoot day. I push politely to have everything discussed. 1. How many cams? 2. What SPECIFIC type of cam? 3. Need a TC slate?
Every production is different, so get the deets on every question, so you can be ready to capture awesome audio on day 1! Break a leg 😎
I dont know much Timecode nor have I ever used it despite owning a tentacle track e. Gonna re watch a few more times 😅 and and start using timecode for my 3 camera sets ups for the weddings. Thanks for your fantastic reviews 😃
You need to get some tentacle syncs for your cameras, the combination of those two is fantastic!
Terrific productions Phillip. Delivery of the detailed specs and preferences is dense yet captioned notations help to Scroll back to get that … what-E-say-Again playback or screen grab. Thanks !
And your advice is firmware-ly encoded with Hariete advice. When the Piano is enstalled, who gets to hang out in which octave, just a general non-tentacle question! And, sooooooooooo....great Phillip........
Another amazing video Philip! Watched the whole thing, and it inspired me to save up for a tentacle sync setup as my next purchase as it just looks so convenient (I didn't know about 32 bit float and how you don't have to worry about levels too, that's amazing!).
I and I'm sure many others would LOVE it if you did a video specifically on how to deal with back pain as a documentary camera operator. I'm in my 30s and I have to turn down offers simply because my back won't last the whole day, as clients tend to push me beyond my limits quite frequently. I imagine at your age (no offense 😁) you probably have some wisdom and tips for us aspiring operators who want to keep filming for a long time!
Thanks again for the insanely helpful videos!
Thanks Matt. Am afraid I don’t have advice for backs. I’ve not been able to take any shooting jobs this year because of my back; going out filming for YT videos is hard.
To be honest I am deeply worried about the future if I can’t do my job. I can’t do YT for the rest of my life, I miss filming jobs so much! I miss other people!
@@philipbloom ah I'm really sorry to hear that. Hope that there are some exercises out there to help strengthen it so you can get back to filming again! Thanks for the reply too! 🙂
@@silbay Cheese Burger Deluxe?
@@silbay ah interesting! I'm living in South Korea where CBD is still highly illegal unfortunately. Hopefully it gets recognized for its benefits over time here as it could probably help a lot of people!
I hadn't heard about the tentacle app with the option to sync gopros!
Love the end credits 😄
Thank you Phillip. As always both entertaining and informative.
This was super helpful thanks Philip!
Thank you, Philip!
Great video, even for people that need to read up on what TC is 🙂The first time I realized the editing world was really changing, was when someone in my class (I am an old ACI) asked what TC is! That aside - I guess the TC sync options above is a case of "good enough". Real sync means that the internal clock of the device locks to the external master. And for DSLRs or any other device using an audio track for TC, this lock does not exist. So the TC from the audio track compared to the TC embedded in the video track can be off by max a frame. I don't know if there are any other NLE than Avid MediaComposer in film projects that can adjust for this. It is called Perf Slip. But - as long as you can live with audio being one frame off, it really does not matter 🙂
GoPro "RAW" audio in Protune settings records in 4 channel 32bit WAV (definitely on the H7, I don't have anything newer). There are selectable levels of dynamic level processing, from low to high (but not off).
32 bit float on the GoPro??
Maybe I can enlist Philip as the spokesperson for the petition to get the Tentacle S to market. S of course being the stereo version of the Track series of 32 bit recorders. Stunning devices. Absolutely stunning.
Wouldn’t that be nice? I’ve actually considered sticking two together with velcro!
@@philipbloom I traded a bunch of emails with them, and they suggested something was in the works. I see you have a v3pro in stock and it is a great compliment to the vapourware S unit…..
@@meriachee I will message them and see if what their plans are.
Phil, in Resolve, use the "Synch Bin" to align multicam video.
That gives you Multicam which is not the same.
There is a tool called LTCconvert that can read LTC timecode from an audiotrack and "patch" it into the videofile w/o the need to re-render or export anything. It's not free I think and has issues (at least my version) with the 24-bit Sony audio, but 16-bit works fine. I use it since Adobe is (again) sleeping on the job and has never implemented this function into Premiere, and probably never will ... 😐
I dunno, I think cats are the most important devices... After that, sync'ing your cameras is vitally important, because these are really computers, with some optics and a sensor attached. So multiple cameras is really a moviemaking network.
Thanks for your channel and excellent advice, Philip, it's been vital to my understanding of the media.
My Nan used to live on the flight path to Heathrow …sounds very familiar to me :)
Always was curious how these time code machines work, great video 👍😊
Crediting the airlines under Sound 🤣 I didn't know about the tentacle app for syncing and exporting to XML (especially calculating higher frame rates) to use in editors. Very helpful!
thanks for your great work of informing your viewers about practical stuff like these small things. Thanks for all the information and keep on going.
I need this! So frustrating trying to sync all the cameras together when editing.
Great nature, so important information about various camera, and those works, superb shooting just love your work 💙💙💙💙💙
No expert here but I still remember the my first attempt at recording with 4 cameras and how I thought no big deal. Way too much to type but after 2 days of swearing in front to the computer I just erased everything and said there has to be a better way. After a lot of sussing things out I ended up with 2 tentacle track E and 4 sync E. I then tried another 4 camera video and even with my limited knowledge the results made me feel like I just split the atom. The 32 bit float was such a godsend. I really like products that just work and these tentacle things do exactly that.
Nice one as always mate
Thanks as always Philip!
Nice Gerald Undone callback
Excellent video yet again 👏
Life on the Catio, lol. Thanks for the good info on timecode. I noticed a GH-2 with a stereo 3D lens! I will have to dust off my GH-2 and start using it to make 3D b-roll. After I find a used 3D lens from Panasonic. The tentacle system looks good and I am very interested in 32bit float audio. You have made me dive into my wallet once again, all for a good cause I suppose.
What an entertaining and informative piece, and very timely! I’m about to invest in some timecode hardware.
I’ve got to say Severus is looking 10 years younger and very settled, if that is what living in the Catio does for you, can I come and spend a week with them.
Thank you Philip for another great video.
Thank you!
Thanks for the nice video! I do agree time code generators are very useful for multi-cam setups. For simpler setups, with only a camera and a video and/or audio recorder it is not always necessary. E.g. with the Sony A7Siii / A7iv, Atomos Ninja V and Sound Devices MixPre 3(-II) together, it is possible to have a wired HDMI connection between the 3 devices and control the other 2 devices via the camera, alleviating the need for any external time code generator. This may save costs, while achieving a similar result.
If they are physically connected of course you don’t!
Love the end credits. 🤣
wonderful and helpful as always.
With the R5C you can use the timecode sync port, Canon accessory hotshoe mic, and 3.5mm for a wireless mic all at the same time with the internal 24-bit 4 channel audio support.
Yes, it’s a almost as good as a proper camera! I am not sure what you are boasting about? It’s not exactly unique!
Nice camera though! Shame no IBIS which I find essential for photography
@@philipbloom Not boasting at all. It is a cleaner setup than that dongle on the fx3 for timecode (an oversight for a FX camera, imho). I don't miss the IBIS, but I have a dedicated body for photo so not exactly using it as a hybrid.
Makeup was great in this video really
A great explanation. I was surprised that you didnt mention the Ambient Recording system. Best regards
I love your cat-studio... I really hope drone makers like DJI add TC functionality in some way soon. It would make productions so much easier!
Cheers Jake. I’ve asked them to at least let there get continuous free run time of day based off of the app. How hard could that be?
if they would add an audio jack, they wouldn't need to.
@@mrshaheedmalik On the drone? Are you joking? They would never ever ever for that! Why would they? Who wants to put a microphone on a drone?
I am watching your video together with my cotton dog dog Valtteri 😂 Whenever he sees your cats he is hyperventilating 🙈 your views and thoughts are very informative as always 👌 for my FX6 I still need an external monitor or recorder 🎥 filmmaking is my passion 😉 by the way, I love cats too 😍 best cinematic greetings from germany
I wish the tentacle sync studio worked better than it does. On the surface, if it would do exactly what it advertises to do, it would be amazing - but it doesn't really work all that well. I've tried many times to use it, and it drops many clips. Even working in network tv (docu), and using a master daily clock with every camera including gopros synced and driven, for my own projects I end up doing one of two things: use the windows app or divinci to convert the audio timecode into meta timecode, then use adobe's multicam mode (which requires renaming all files on ingest) - OR - use pluraleyes, which works a treat every time. I wish there was a timecode workflow that worked as simple as it did before DSLR's and stills mirrorless cameras became youtubers' favorites for video, because timecode was always the standard. But now, for some unknown reason, it's just not that easy. Honestly, it should be as simple as dragging all your footage from each camera into their own lanes in a timeline, highlighting, and clicking, "align to timecode position." If you use Reaper for audio, Reaper has exactly this, and will instantly move any audio clip to its correct position along a timeline by the clip's timecode. All video NLE's should absolutely have something this simple. There's really no good excuse for not doing this. (Avid is the only one I know that does anything similar)
Oh snap... I was wondering about a way to do it for drones, and Gopro... Those are my main go to cameras...
There we go then! :)
Been waiting for this 🎉
The Sigma FP does timecode as well. I shoot 2 FPs and an S1H with the zoom F6 being my master TC and recording all my audio.
Always entertaining and informative. Plus, you get cats!
This takes me back to shooting an interview at Heatherly's in Chelsea a few years ago. 60 seconds tops between flights. Nightmare!
Did I see a Fujifilm X-H2S? Are you going to do a review on the camera?
You didn’t just see one you saw a shit load of footage too! All the 3:2 open gate footage as it (i captioned the first shot using it)
Review? Maybe.
Damn! Mr Bloom! Jam syncing? Next you’ll be making the poor buggers adjust knee settings on each camera, or recording bars & tone on each and setting up each to house standards!
I can't live without the Tentacle Sync!! The best money you can spend to keep from going nuts in post! Everyone should use it.
damn right!
Secret diffusion filter, hmm, I wonder if it was the Scarf Dust or PA tears? Thanks for the video.
“These may not excite you like a camera, lens, or banana” 🤣🤣❤️
Great breakdown! 👍🏾🙏🏾
Brilliant piece! As I will soon be adding a 2nd camera for my work this was very informative and entertaining. The only thing I would've added is maybe a banana at the end .. that was a good, albeit possibly lost, shot across the pond. I'll be looking at the Tentacle products to add to my future budget. Thank you.
Just for clarity, the first 1000 link users don't get to come hang out in your catio along with the Skillshare subscription?
saving the knowledge for a hopefully near future
It will still be here when you have the funds! 🙂
19:36 Yes, still here :)
Philip thank you so much for making this video! You're the first person I've seen that mentioned the sony multi-interface shoe mics and whether or not you could use timecode on these, plus the mic. Fortunately, I have a XLR-K3M so I'd still be good to go if I purchased one of these.
Just wanted to say thanks again!
Hi Philip, thanks for sharing your experiences with TC. It makes perfect sense for multi-cam shots an external recording. I'm just getting into video and have already experienced a situation where I couldn't sync by waveform in DaVinci for some clips.
Timecode or TC is what I'm aiming to learn how to use but not all kit is compatible without needing some workarounds. I'm pleased to learn that Tentacle Sync and Deity's TC-1s can work together, as I can see how useful a Tentacle Track E makes for a great bodypack lav recorder as long as you don't need to monitor during recording. I just bought a triple TC-1 kit. Have tested that I can jam sync to my MixPre 6ii OK and use on my Sony a7iv via one channel audiotrack on camera. I just bought a Zoom F3 as well - thinking about plant mike use or a smaller than MIXPre-6II field option when less complex sound recording is appropriate (I'm typically a one person operator).
Working solo, handling separate boomed recordings is tricky unless using either a fixed boom (supported on stand) or using a locked off camera(s) on tripod(s). One issue I think I need to overcome is how to TC a Zoom F3? You mentioned Atamos's Ultra Blue for Zoom F3, but that won't jam to a Deity TC-1 easily without using a more expensive Ultra Sync 1 box (from what you said). If true then it's starting to compromise the small, light compact nature of Zoom F3 vs my MixPre-6ii which has inbuilt TC?
Question: can a Zoom F3 take high quality 32 bit float (compact, good quality and easy to deploy) on 1st mono channel and be stereo linked to a 2nd mono channel receiving audio TC from a spare TC-1 box (using short 3.5mm trs jack to XLR)? Such that in DaVinci the audio TC track can be converted to metadata TC embedded with 1st channel's potentially high quality sound captured on Zoom?
ie that's using one channel sound with encoded metadata TC in a similar way in which video images and scratch audio (just one channel) can be converted via DaVinci (or Tentacle's software) into metadata TC embedded video and scratch sound?
If possible, this might be a useful and pragmatic workaround that obviates need to use a third TC ecosystem. NB I already have Deity TC, might yet buy into Tentacle eco system for Track-E and possibly the Tentacle 'Timebar' app, potentially on a phone supported on a regular clapper board (also potentially obviating need to buy a Deity slate). Ideally I'd just use one TC platform, two is trickier (Deity + Tentacle), but three systems is borderingon ridiculous complexity (ie adding in 2 units from Atomos Ultra Blue & Ultra Sync 1). Any thoughts if my hypothetical workaround might work OK?
Wow the timestamps ticking was awesome
@phillipbloom could you do a quick video on the xml process you use and importing it into Resolve. I think I am doing it wrong.
If you had this out last wednesday my life would be soooo mich easier today haha I didn't know about the slate app or the gopro qr code
Moving forward you will be good! :)
Thanks for this video Phillip! Could you tell me what you used to mount the sync e to the ronin 4D handle?
A easy low budget trick for sony cameras is to use a Sony IR remote to hit enter and zero the Timecode on all Cameras at the same Time and with TC Run set to Free Run It will keep running untill zeroed again
The whole point of this video is to show you how and why you need to do things properly.
Nobody seem to address the elephant in the room: video delay. I am using Tentacle Sync E and Track E devices and multi cameras such as Fuji X-H2S and Canon XF605 or iPhone. They all have different video delays, which also changes depending on which frame rates are used! I use the Tentacle Sync Studio 1.30 which has Offset adjustment. But alas, this is driving me batty! I can't handle different values for the different cameras and also have consistent delay calibrations. How do you handle this???
I have the Blue/Atomos system and it works quite well with my setup (GH6, G9 and BMPCC4K + Atomos V with sync addon). I also have the Zoom F2 and F3 and often use all the devices on a shoot with no issue (just lots of setup!)
They really need to be able to work with a centralised app like the other two.
@@philipbloom I definitely wish there was one. The Ninja V usually acts as my main hub so at least with that I can see what's connected but an app would be a godsend.
Hey Phillip,
What’s your secret diffusion filter from 0:24?
I recently added Glimmerglass from Tiffen to my collection, but I can’t say I’m too happy with it, especially on vintage lenses it really makes shadows a mush…
And so the search continues.
Excellent review, many thanks. One question: how did you attach the tentacle to the Insta360 on a stick? - Looks like horse shoe adapter mounted inbetween the stick and the Insta360? - Thanks!
That’s the mic mount they do for it. You can see it clearer in the review of that camera, worth watching if you haven’t seen it especially the audio issues.
@@philipbloom Thanks! - I watched your Insta review before buying one, wasn't aware of the tentacle apparence, but will watch again!
Great review! So the option to plug the tentacle sync into the headphone jack only works on cameras and not the zoom F3? I don’t really want to get an F6 but I would like to use my tentacle sync.
It works with anything that can record audio with but you will lose an audio channel as it’s only 2 inputs/ 2 tracks.
Thanks 🙏🏽
Did I just saw a GH2 with a 3D lens on it at 0:09? That is some good old shit you have there sir. I didn't know your GH2 was not black?
The outro is hilarious, and the credits. LOL.
It is indeed and the 5d mkii. All compatible with these…it was to make a point about how these devices are I’ll last for years!
So I guess those days are gone for - - - Video, 4ch audio, LTC, VITC going all down 1x Sdi BNC cable? A sound guy I've worked with a few times has the tentacle kit for jamming the camera TC....he says its amazing.... Im not sure if I trust it...but I guess that's the way everything's going.
No reason not to trust it. You can see the “timecode ext” on the camera display if using a camera with timecode in or if using audio timecode you will see a high almost steady audio signal on channel 1. 🙂
As usual, great job Philip! You don't put out a lot of videos but when you do release one, I seriously have to give it my full attention from start to finish! I need some of your professional advice please sir. I am a wedding and documentary videographer and I want to incorporate timecode into my workflow. If you were me in September 2023, what timecode product(s) would you buy for my situation? I normally shoot a wedding with 3 cameras, 2 wireless lav mics for the groom and the officiant, a portable audio recorder for the DJ's sound system and sometimes a separate ambient recorder as well. I have the Sony FX6, two FX3's, the wireless DJI mics, the Tascam Portacapture X8, the TASCAM DR-40X and also the Zoom H1n. Would really appreciate it if you could give me some advice on what Timecode system(s) you think I should dive into? Keep up the great work sir!
Sorry I didn’t see this. What did you go for in the end?
@@philipbloom The Tentacle Syncs, love em!
Could have used the Mix-Pre 3 / Mix-Pre 6 for audio options. The 3 is small enough. Great video overall.
Thanks, that’s definitely getting into sound recordist territory and that’s a rabbit hole!
@@philipbloom perfect time for a UA-cam Collab with @Matt Price ua-cam.com/users/MattPriceSoundrollingSoundRecordist
Thanks Justin, i was looking for a note on a Mix-Pre setup.
I have a Mix-Pre 6, Fuji Xt4, atomos Ninja V and work in a Windows system.
I’m trying to piece together an effective time code chain.
Could anyone offer insight or a resource to gain more knowledge on my options using these components?
@@ktsui6496 so what are your issues specifically? I personally would use either tentacle or deity and use audio timecode on the xt4 and ninja v using one device and connect another to your Audio Devices mix pre. You can use that as your master timecode or send timecode into it.
Syncing is the pain if you have lots of camera due to windows, but easier if you are using one. You can turn the audio timecode into metadata in Davinci resolve or Avid.
@@ktsui6496 I use the Tentacle Sync on my Mix-Pre 6 with no issues. I also keep one on each device throughout the shoot. This helps to ensure no loss of frame sync IMO. Tentacle sync software will work on a Windows system, as Phillip said, it's just not as full-featured as the OSX version is. However depending on your camera system this may not even be an issue, however I honestly could not find any info on external timecode signals for the Fuji Xt4. On the Atomos Ninja you can use the timecode coming in via your SDI/HDMI cable. So if you are using the Tentacle Sync, that will get ported over. I have a Ninja+ but have never recorded with it so I do not know if it is frame accurate via the SDI/HDMI pathway when recording. Hope this helps.
On my second pass through with this video. Newish to video and only using one cam at the moment but next month will be delving into multicam shots along with boomed mics and lavs. Bc I am a noob, are you recommending one timecode device per camera and per audio device, sorta like transmitters and receivers? Thanks! #clueless
Always great info - I own several Tentacle syncs. I wonder if I could sync my insta360 One RS? Anyone given this a shot?
Ah gopro labs mmmm question if I install labs just to see and try it before getting any tentacles 😅 can I reset gopro to regular software?
If you were using tentacles for day long shooting would you turn on at start of day sync and then just gopro it and line it all up in software later?
Plus when in premiere pro do you put all the days footage on one timeline and then separate in post ?
Thanks in advance. I do camping hiking vids and never know when mouth will engage 😅
Why are all the timecode devices out of stock right now?
I am not involved with distribution and sales of products! You should probably ask the resellers or the manufacturers rather than me! :)
@@philipbloom touché!