It’s $400 for the entire kit - so we’ve got to be realistic with expectations. At that price it’s a killer value. The ONLY feature I wish it had is the ability to jam sync INTO it. That would allow you to use a more professional TC master like Tentacle or Deity. RODE hinted they may introduce that feature via future firmware.
“I would rather have a videographer that’s an audio guy doing video, than a video guy that does audio.” Glad you said that…I’ve been thinking it for a while!
In my experience, the biggest challenge to running audio track timecode, is that inexperienced editors don't know what to do with it. They say that they would rather hear the clap and the dialog. Also, it is a problem to get owners of audio recorders, and consumer/prosumer camera owners to set the correct day, and time of day (TOD) on their cameras. At least it would be easier to pair audio and video files together by file time stamps.
The whole point about things being hidden under various menus to make adjustments is a very real problem. That is one of the two big reasons why I still prefer an analog mixer for live sound. Because I can check or get to all of my settings to make changes instantly.
I find it fascinated that the companies are pushing 32-bit FP as hard as they are, but not providing context for how/why it might be handy to have in your recorder/interface, etc. Like, for dynamic voice performances or for sound design where you need to record incredibly loud transients and things kinda makes sense, but for generalised recording it just seems so unnecessary. Not only that but for those who don't know enough about the tech and just provide the raw WAVs to other departments that don't have software that can read/convert that bit depth level, it's just frustrating and adding time to the production process.... (I'm actually going to go watch your video on this now, because I may just be repeating what you've already said hahaha) But thanks for THIS video, examining the timecode function for RØDE's wireless go lav system. I've been tempted to invest in them for the on set boom/sound work I've been slowly getting into, but wasn't sure if the expense was entirely justified.
100% agreed! I keep this in mind when assisting tech fundamentals in post prod to voice actors, when they start to show signs that they might run off and try to mix their own demos or try to get work doing any sort of audio work, now they know what a decibel is and how to find their fundamental frequency... 😅 Love your work mate, cheers!
Funny thing is (and RODE says this on their website as well) neither Final Cut nor Premiere are able to use timecode from audio tracks, where as resolve and media composer can. I agree though, that timecode is not necessary for most content creation situations
@@SoundSpeeds yeah, you can even see it in the still frame in their video (around 34:01 in yours) "Unfortunately, neither Premiere Pro nor Final Cut Pro can do this, so you'll need to first use software that does [...]"
Wait is this a mic or a tc device? I'm not wearing my glasses and I think I'm sounding like an idiot. So true. You don't need tc enough to be buying rode tc generators if that's what this is.😮
8:19 - always respected your opinion and reputation - but THIS is really presumptuously. I dont want a soundguy run any of my cameras nor any cameraman trying to record audio. "Holding" a camera is not easier nor more difficult than holding a mic. But both is an art and needs experience and technical skills, and both can go horribly wrong...
