Great video, Joe! Been doing TV for 20 years and the big takeaway I got from my mentors was "anything you can simplify will let you focus on the story more".
I'm no sure realized this yet but you can jam-sync the rode receiver to the Deity TC-1 and have that connected to your other camera. As you mentioned, the issues is that it cannot receive timecode "yet" per their representative on a video discussing Rode's timecode system, so it appears that they are actually working on that. Despite this, you can use the receiver to jam sync other timecode devices that are able to accurately hold their clock timings so it can fit into tentacle or deity TC workflows.
@@joeunsworth great to hear! I have been filming weddings since 2015 and the Rode Wireless Go ii has been in my kit for the last few years. I also use Tascam DR10L. I rarely if ever use the wireless functionality at weddings, but it’s very nice for live streaming and for certain other commercial shoots. Absolutely love the onboard recording and it’s so easy to just turn them on and start recording! Got the wireless pro for the carving case and 32-bit float 🔥
@@moorememoriesvideo7070 the 32-bit float is absolutely the key upgrade here for me. Once you've used it, it's really hard to go back. I've complemented my wedding kit with the Tascam DR-10L Pro which is also a 32-bit float recorder, and am/will be using those as backup pocket recorder lavs. First impression is fantastic - You just can't go wrong with this setup, in my opinion.
@@joeunsworth yeah, I have always used the tascam units for the groom and officiant but I’m thinking of switching to these rode units just for extreme simplicity- and they are even smaller than the tascams. Not to mention less AAA batteries throughout the year
Nice video. I just used them on a wedding yesterday and, I still have to test to see if everything worked the way I am hoping, but you can integrate the Rode into a timecode system. It just has to be the master clock. Setup was an FX3 (jammed from RWP), a MixPre3 (jammed from RWP), and an A7S3 with the RWP attached in TC1 mode (audio on one channel, timecode audio on other). In resolve I just have to convert the A7S3 timecode audio to metadata timecode, which is one click (wish other NLEs would add this!!) and in theory I should have 2 cameras, 2 lavs, and my audio of the board / handheld mic all synced instantly. I had already done some minor tests and realized that it seems like the RWP can drift if you power it off. Thankfully the receiver lasts a while, and I just plugged in a USB power bank while operating to not have to worry about that. My thinking is the MixPre and Rode both have actual accurate clocks that are temperature compensated and 0.2 ppm or whatever, the FX3 might drift but it can at least accept timecode, and the other camera has the rode attached to keep it in sync. If you jammed a Diety TC1, then synced your whole Diety system to that one, they would all be in sync with the rode. But we’ll see how it actually turns out haha
Yeah I need to play around with this a lot more, and see if I can jam the Deity system with the RWP as the master (I’m not sure if this can be done, and just didn’t have the time to play around with it this week (getting the video uploaded and out the gate based on my “first impression” was more of a priority for me). I noticed the same with the drift when powering down the kit and found for this first wedding that it was easier to just sync everything by hand 😂 so I too definitely need to do a bit more testing. Thanks for sharing!
To update you, I just posted a new video showing that this suggestion unfortunately does not work with the TC-1. You might want to take a look if you’re planning on using these with the TC-1, or if you might spot anything I’m doing wrong in the video that could be a simple fix!
Timecode not useless. You jam sync from the rode into another timecode box like the tentacle sync e (not jam into a camera) then use the tentacle sync on other cameras.
Can the Tentacle Sync E accept timecode from another master generator that is not manufactured by Tentacle Sync? I'd be very surprised if so, but if this is true, then that's very good news for multi-cam sets.
@@joeunsworth yes it can actually. So timecode is actually a very very old system. it's a universal system actually. so you are just jam syncing from rode to tentacle with the 3.5 mm jack in the same way you jam sync from rode to a camera. so then the tentacle sync becomes like a 2ndary master clock that keeps time far better than they cameras can. you then place that tentacle on your 2nd camera, and 3rd camera and so on. I assumed this was the case and commented rode on their Q&A video they uploaded last week. they responded to say I was right. they had tested this method and had it working with no issues. I'll know myself when I get my rode pro this week. I have been using tentacle sync e on 3 cameras and also the tentacle track e since the start of the year so I have some experience
think this vid might answer, there are a few others on YT similar as well ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-mu9BEw_igKM.html&pp=ygUacm9kZSB3aXJlbGVzcyBwcm8gdGltZWNvZGU%3D@@joeunsworth
That's incredible to hear, as you're absolutely right about the difference in drift when jam-syncing a camera directly, instead of another generator. Thank you for sharing! @@HouseofRen
@@joeunsworth I do a search for new rode pro RU-vid videos every few hours just being a bit excited for mine. I came across one released a few hours ago that just proved my comment above. It’s now proven that you can jam sync into the tentacle and then sync others from that one jam synced tentacle for multicam work
Receiver is lacking headphone port. Funny that Rode includes timecode connection for the camera but there is no way to monitor the audio during use of the timecode, camera operator will just have to wait for the playback since timecode is already a lot of convenience better not include too much or else it might make sense.
As a workaround, you can monitor the audio through your camera's headphone jack, and if your camera doesn't support changing the audio output options (e.g. only output left channel via headphone jack) then you can get around this using a stereo breakout cable. You connect your headphones to one channel of the breakout cable, and then you'll only hear the mixed transmitter audio without the timecode deafening you. Not ideal, but it works.
Yep, pretty much. I just thought it would be interesting to put it out there about the idea of building the system out in a way that it better suits multi-cam shoots. I've seen some comments suggesting to jam sync another brand of timecode generator, but I still believe the most logical next step would be for Rode to release additional timecode boxes of their own.
@@GrenlandUnderVann and any other timecode system that accepts jam sync. You just have to start with the RODE Rx as the master clock because unfortunately it cannot be jam sync'd itself.
for example, i am recording at 24fps in my camera and the audio i want to use is the 32 bit float recorded on the wireless pro, how will both sync when the wireless pro fps is undefined?
Dear Sir, Greetings.Thanks for your great video. Please guide me , regarding the use of Rode Wireless PRO, as wireless hands free mic for public address for mega church meetings etc. where preacher and interpreter stands together with their mobiles etc. 1) Rode Wireless PRO being GHz,will our mobiles,wi-fi etc.interfear with it's signals, so that the voice gets affected? 2) Can Rode Wireless PRO receiver be connected directly to the sound amplifier or is it possible only through a mixer ?
Very good video, Joe! I was initially very intrigued by the wireless pro. My standard use case is classical chamber music live recording. I currently do that most of the time with my Canon R5 sitting on top of a Tascam DR-701D audio recorder. The beauty of that is that audio recorder’s start/stop function can be laved to the camera via HDMI link. Then I use two Røde Newsshooter kits with the transmitters connected to Audix Micro M1280 microphones on the Audix Microbooms. The booms are slim and the mics are small such that they van be placed in front of the musicians without being too obtrusive in the video frame. The receivers then sit on the top of the R5 attached on a rail that is mounted to the cam‘s hot shoe. That works really well but the setup is bulky and not as unobtrusive as I would like it to be. I initially thought the wireless pro could be the ideal solution to slim my setup down drastically. However, I obviously rely on 48 V phantom power for my mics, which the wireless pro transmitters can‘t provide. I wonder if there are any separate compact phantom power generators out there that could work in between the mics and the wireless pro transmitters.
That would certainly be an interesting solution! Unfortunately that’s not something I can answer as I’ve never needed to do anything similar to what you’re describing; my understanding of phantom power is that it’s always the recording device which provides this, but it could be worth looking into. I suppose you’d need a device that can power your mic, and send the XLR signal out of a 3.5mm jack. Something tells me this probably wouldn’t be much less bulky than your current setup, other than slimming down from two receivers mounted on your camera to one? What purpose does the Tascam recorder serve for you currently?
@@joeunsworth Thanks for responding, Joe. The Tascam records the audio signal coming from the two receivers of the newsshooter kits. It also feeds the audio signal into the cam‘s microphone input. However, I only use this audio track to sync the audio signals recorded by the tascam with the video in post. Even though the start/stop is slaved to the cam, there is a little bit of a lag the audio and the video recording. But syncing with the waveform of in cam audio and the Tascam audio tracks is fairly easy in Davinci Resolve. And I can also post process the audio channels separately and mix them to a perfect stereo signal. As I said, this really works well and provides very high quality audio, which is even more important than the video quality for the types recordings I take. Only downside is that the setup is pretty bulky and also quite time consuming to wire everything up. Onboard recording to the wireless pro transmitters in conjunction wit time code sync between receiver, cam, and transmitters would eliminate the need for the Tascam recorder. Although I have to admit that I don‘t quite understand how or if the tc sync between the R5 and the receiver works.
To the Mac? No, I have not. The only way I can get them to show up in Finder is by connecting the either one or both transmitters to the charging case first, and then connecting the charging case to the Mac. Could be an issue in the event you misplace the case...
It’s annoying, but if you open the rode app first, then it will appear in the finder on macs. Seems kinda weird. I just use the case now instead of individually plugging in.
Another gripe here is that Røde finally supplied a separate charging case for the Wireless GO II, but the stand alone price is pretty steep considering that this new "PRO" edition supplies two cases as well as wired mics in one single bundle... And the Røde Wireless GO II Charging Case is still not available here in Europe, despite being introduced in the spring!
The Pro bundle is definitely an exceptional price as I pointed out in the video. If I already owned the Wireless Go II and all the accessories though, I might feel differently about the price point of this new version - definitely the better value option!
Yup, you can disable record button. TEST your lav's before the big shoot! Mine do not plug in far enough with the included locking net. I had to remove them from the mic to get them to plug all the way in. Anyone else seeing this issue?
I haven't experienced this personally, but the locking nuts DO come off the 3.5mm jacks if you twist them; so make sure they're screwed all the way onto the jack before fastening to the transmitter. Let me know if that helps?
When it comes to the 32-bit, I’d say it kind of depends what you’re recording. If you’re in a controlled studio environment, and you have time to set your audio levels before shooting to make sure there isn’t any clipping, then you’re probably not going to notice a huge amount of difference. However - if you’re shooting an event, it’s a crazy rush all over the place, and you’re using the mic to record audio from many different people, in different areas, with wildly different noise levels, (festival, wedding, party, event, etc) then this is where you’ll see the real benefit of 32-bit float. Bottom line: if the volume suddenly gets very loud around you and the audio clips with these recorders, it can be recovered. You just bring down the levels in post / normalise the track as usual. If your audio clips with the last generation, or any other 24-bit recorder, your audio is basically trash and you’ll need to re-shoot. I’ve had it in the past where talent in an interview started laughing unexpectedly, and that part of the track was ruined. I was using a 24-bit recorder with manually-set gain.
Nice video. To use the RODE Pro with your TC-1 setup you just need to use the RODE Rx to jam sync your TC-1's. IMHO you need to then treat one of your TC-1's as the master clock, but at least you can then use timecode to sync across your setup assuming you attach your TC-1's to each camera. I hope you do that so that you don't have to manually sync. BTW, RODE states that jam-sync without attaching a timecode device will be accurate, at least for the 1st 4+ hours and at most slightly off after that...but that's an assumption about the accuracy of cameras and devices that accept jam sync'd timecode. RODE also does not publish a drift number for their RX, but I'm hoping they publish their official drift number soon! Oh, and I was waiting on the PR-2's as well, but unfortunately they won't be out until Q4/2024 per my conversations with their pre-sales support.
Thank you! I’m already halfway through putting together a video on exactly this, so hopefully I can have that up on the channel soon to clear up some of my presumptions in this original video. I was keen to get this one out the gate in and around other projects I have going on, and didn’t take time to read manuals and/or think of workarounds like this one. It’s a great point though - hence doing a follow up video on this topic. Stay tuned!
To update you, I just posted a new video showing that this suggestion unfortunately does not work. You might want to take a look if you’re planning on using these with the TC-1 ✌🏼
love your knowledge and review. DIDN'T love the "gate-keeper-y" hate for people who use wireless GO as a lav mic. I know it doesn't look amazing, but it's a super cost-effective way to upgrade audio quality. I mean, if I was going to nit-pick, your room reverb is pretty nasty in this video. I prefer good audio over spotless aesthetics on a 30-second video I'm probably not going to watch to the end anyway :P Anyway, thanks for the video - I appreciated the content :)
@@joeunsworth have you heard of the free plugin "goyo voice separator"? It's absolutely amazing and will kill that reverb with a single knob and it won't make the audio sound weird 👌🏼👌🏼👌🏼
I want a cheaper Kit without Lav Mics. I think this was not a good desicion to ad it to a "Pro" Kit. Because most Pros already got Lav Mics. I don´t want to buy another two when i already got two Lav Mics
It’s a fair point, but saying that, you are usually best off using the lavs designed by the manufacturer to avoid any weird phasing issues, interference, or extra noise being introduced. There are some really good videos out there showcasing that the best lav to use with the Go II is Rode’s own Lavalier Go, as it has zero interference, and I imagine their results would be similar with this new setup (although I have not tested that myself).
I already got two Rode Lavalier Go :) I don´t say it´s a bad package, but would be nice to have a option without the Lav Mics and don´t waste resources@@joeunsworth
Is there anything in particular you don't like about the app or that DJI just does better? (I'm impressed with Rode Central overall so I'm curious to hear what's putting you off)
The point is why to connect device to laptop or mobile To adjust some settings While i can do that with touch screen on the device it self So we like DJI I sell rode wireless go ii and get dji
