sorry mate this has nothing to do with syncing with Time code , this is manual Syncing tricks nothing more than that a tip on top of your tip, since you set your time as close as possible to each other, you can figure out the off set in the first clip and batch the off set for each camera based on that, Note the problem with my Tip and your Tip that it dose not take in account the Audio Drift and the main reason for using TC, which is the internal clocks on devices without real time code crystal will be fluctuating and not super accurate , you would start the day with maybe 1 sec difference but by the time you wrap it might have became 14 sec (rough number) ! and you are free to test that , also the more you change batteries the more the devices will drift from each others. so sorry to brake it to you there is so manny problems with your video from being misleading to not haveing anything about time code being correct. using a chap bluetooth Tx,RX to send timecode as an audio signal would result in better workflow, as TC signal is basically just an Audio signal.
With all respect. I get these comments quite often where people miss the point of the video and I think you did too. If you have the gear and the crew do use timecode with proper master and slave set-up etc. This is more for a situation where you for example are shooting with different cameras/recorders (in a light doc style for example) simultaneously and want to organise them chronologically and in about synced and maybe even add timecode based note to your timeline with en.editingtools.io/livenotes/ for example. It's true that I should have talked about the drift, I don't often shoot more than one or two hours at a time and didn't consider the drift to be that big of a deal, but for sure 15sec at the end of the day is not nice anymore. But thank you for your professional opinion and explanation.
Not bad workflow to make your life without proper TC gear possible, but realying on this method adds a heck of a lot more time than using proper TC gear. Its a little click baty to make it sound like you can get TC without the proper gear. One thing to note, that even cameras with TC, will have drift with every power cycle. Thats true for your DSLR or any cinema camera as well. Thats why having a constant feed from a TC box is important. While editing a feature, I had an audio guy think he could jam sync his recorder at the beginning of the day and it would stay in sync. Sure enough, everything after lunch when he swapped batteries, was off my about 30 seconds. Thats the difference between taking seconds to sync the dailies vs adding a lot more time to the sync job. I do like how you explained Audio recorders without proper TC will lack the "frames" accuracy, and the video had some good tips that I've certainly used, its just no replacement for proper gear.
You are correct. This doesn't replace proper gear. I just have found this a life saver in shoots with many cameras (Drone, Gopro, iphones etc in the mix) and potentially multiple locations during the day. It gives a nice starting point to do the rest of the sync by hand. It's true that the sync drifts after a while, but it's not that much of a hustle to sync the clocks once in a while. White practise it's like 30sec per camera. And when you add tools like "live timecode notes" to the mix... en.editingtools.io/livenotes/ Life becomes easier. This whole process is one more thing to keep in mind for sure, and it's not beginner friendly... But a lot of film making is not beginner friendly. :D I still prefer to have less gear and to manually sync the clocks. Good points...
i have a different problem, my videos in may 2024 suddenly gets darker after upload. very very dark like youtube is applying its own gamma fix now. my old videos looks natural same as what my monitor shows, my iphone and android phone shows but since past 2 videos i have been uploading my videos gets darker after uploads and looks normal on my monitor phones and other devices like sony tv etc but on youtube uploaded video it has gone way way darker. anyone else facing this issue? pls help. p.s. this also happend when i attached benq sw240 monitor adobe rgb paired with my lg monitor 135 percent srgb. before that everything was normal. and if everything seems fine with my video on multiple devices before uploading on youtube why suddenly after connecting new monitor this started? is youtube taking some kind of color space tag from my videos? when i export from davinci. no science has explained me bout this till now, can anyone help. very bad color shift and darkness gama in my video.
This video is old and actually bit missleading. I have a new workshop that teaches ACES based color grading workflow. Inside that course I have a video about color shifts. You can see it here: drive.google.com/file/d/1Mt-hERtncBdReSqiZyn5Z8X45I4B1ESD/view?usp=sharing If you are interested of the workshop this is part of: www.joo.works/aces-lite-workshop-start Tell me if these help, or maybe your issue is about something else. :D
@@JooWorks well I figured it out finally hope this helps you too. We always render out in rec 709 gamma 2.2 right. Well turns out a mistake from my end actually gave me a solution. Try rendering in gamma 2.4 instead of 2.2 RU-vid will love it 🥰 no color shifts 😅 I was amazed by the results. In past some videos I was rendering in 2.4 without even noticing it and then I started doing in 2.2 and major color shifts and darkness occurred. Now everything is fine on my end. Thanks for reply though much appreciated 👌🏻for RU-vid render in rec 709 gamma 2.4 color space ✌️
Will not work with multiple audio recorders, needs to be sync at 48KHz resolution to avoid phase issues. Also with the old skool clapper technique I notice a lot of drift in shots longer than a minute. But nice click bait the airpods! :)
I think people need to realise that Blackmagic Pocket Cinema Camera is well a "cinema" camera and BM Design has little to interest catering to people's vlogging and casual needs. Its PURELY made for filmmaking, for people who cannot afford a RED or to rent out an ARRI. Complaining about autofocus, bad stills, and stabilisation is not a valid critique of the camera. By this definition, RED and Alexa both would be ranked inferior to Sony A7iii lol.
@jooworks how does the HLGtoAces conversion and AcestoRec709 presets interact with colourspace override in Premiere? If I have HLG3 Footage, shall I interpret it to 709 before using the conversion and then set the sequencve to 709, or shall I leave the Foootage at 2100? :) The 2020 vs 2100 thing has me a bit confused anyways because in cam it is set to 2020, but premiere automatically detects it as 2100. Would appreciate an answer ;) Thanks already
No arri footage is flat look like paper. so it creates a wide look.if you want to get arri look. you do this several times to your video.import premiere pro your footage.do this several time.what is that? Tips no 1 First import log footage and apply reg 709 lut. it is colour correction Tips no 2 Same video select basic correction. Select contact reduce it -15. Next select shadow increase it + 15. Select sharpen increase sharpen +40 and save the video same clarity 4k to your system. Rename it video 1 (V1 sharpen 40 shadow contrast 15) Save it. Tips no 3 Again import same V1 footage Tip 2 same process do it Contrast -10 not 15 Shadow +10 not 15 Sharpen+20 only not +40 Again export save it has (V2 sharpen+20 contact 10 shadow 10) Save it has same quality 4k. Tip no 3 Again import footage Do same process Contrast and shadow same But sharpen +5 only not 20 or 40 That time your footage looks grey But luckily you get arri flat look. Your video looks wide.look like arri Cam. Export it has ( V3 contact 10 shadow 10 sharpen 5) Save Tip 4 Again import last export footage V3 footage adjust curv properly And colour grading now you get arri look but your video clarity little bit loss for eg 4k footage look like 3k footage.and fix helation and export it.next import your last grading footage to topaz ai enhancer you get arri footage.after edit I do this same process to get my video arri look.flat. I shoot my short film in a6400 Sony camera I do this process.you look my short film. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-xSW30Ettfe0.htmlsi=zhMO8JQIMRXbfkgd
How can you sell this *_BS KLUDGE_* as an _ACES workflow_ with a straight face??! LOL! This is utter nonsense and you clearly don't even understand what ACES *_is_* or how it works! 🤦🏼♂
Sorry dude, misleading thumbnails are an instant point of mistrust. Would have watched without that. Now I'm going to have to say goodbye. Honesty is always the best policy. Good luck with your channel.
Thanks so much for this video 😊 For me, it would be very interesting what is your solution with all the data of the footage when you’re on travel? since one year I’m also at traveling as a filmmaker and didn’t find a really good way for that.
Timecode is not necessary if you have two clean audio tracks: one recorded from the external recorder and one from the microphone of your camera. You can synchronize the clips using a function in DaVinci Resolve. Place your two clips in a timeline, then select both, right-click, and choose 'Auto Align Clips.' After that, select 'Based on waveform.' This method works most of the time
I bought the DaVinci Resolve studio few months ago, and I was blown away with the the integrated denouncing among many other things, It the most amazing software I have ever bought, it´s light-years ahead the rest... I also bought topaz labs video enhance ai and it´s the most useless software I have ever bought, it overpriced, slow and has never delivered usable results (at least for me) and by the way I loved your video :)
Time code is more than just syncing audio. for example: You can sync drone footage or even notes with a tool like: en.editingtools.io/livenotes/ And yes, for simple shooting sync with waveform is better.
