Sound for Video Session: Timecode Demo 

Nicely explained ! Simple and easy to understand. Thanks Curtis 😀

Great stuff, Curtis! Thank you! I found your videos while searching for some production sound advice a little while back. Subscribed immediately. Really appreciate the detail and clarity of your work. As far as timecode setups go, figured I'd throw this option into the ring as well: the Timecode Systems BLINK-enabled devices. It's a wireless ecosystem that provides genlock and timecode. Fairly simple to setup, and a lot of options for customization (just a heads-up, if you use the base station, it is more expensive than the other options you covered.) So I've been testing out their :pulse mini base station with two :mini trx+ transceivers, and since the system is wireless, one of the first things I did was test for drift. I recorded a 30min clip in which the :pulse was used to generate TC and Sync. The F8 was then jam-synced over a BNC connection with the :pulse's signal. The two :mini trx+ transceivers were then designated as slave units to the :pulse base station. Movie Slate 8 on an iPad Mini was fed timecode wirelessly from the :pulse mini base station (the :pulse creates its own sub GHz wireless network). The two :mini trx+ units were joined wirelessly to the :pulse's network. One :mini trx+ was then connected to an Ursa Mini 4.6K's Timecode/Reference In jack via a BNC cable. I only had one camera, so I just monitored the timecode on the second :mini trx+. I hit record and slated at the beginning of the clip, at the 15min mark, and at the 30min mark. With a right-click of the mouse, the audio and video synced in FCPX, and each slate turned out to be accurate to the frame. Which, I'll admit, made me feel a little giddy, haha. I also ran a test with letting the Zoom F8 record continuously, and shooting several separate shots with the camera (hitting record, stopping, waiting 30 seconds and hitting record again). In FCPX, each one of the shots synced perfectly to the single F8 audio file. Sorry for the long post, but I was pretty excited about the gear and the tests, and thought this would be a great place to share that excitement. Oh, and it's probably worth noting I'm in no way associated with Timecode Systems. But if the gear continues to be as reliable as my initial tests, I'll shout it from the rooftops (smile).

Thanks so much Curtis for this Demo. As always very useful !!

This is the best Timecode Jam tutorial I've seen. Thank you for this...

Very nice info on TC. I would add that my one experience seeing an editor sync 186 clips from 3 cams running TC and my SD633 audio was amazing. Tentacle Sync Studio synced all clips in 30 seconds and produced an XML file in 2 seconds. He pulled the XML and all clip files into Premiere which then began to heat up the iMac CPU and about 2 minutes later all clips were on the timeline synced up and ready to edit. I mention this because in your demo you had some fidlely stuff to do in Premiere and my guy had none of that. It was the first time he ever used Tentacle Sync Studio and first time he ever pulled in an XML file to Premiere. I am not an editor so I can't tell you what he did differently from you but it was completely seamless and blew me away as far as ease of use. He said it was the first time he ever used TC and that if he had not used TC it would have taken him at least 3 days of manual syncing and nudging to do what he did with TC in 3 minutes.

Hey Curtis, if you have a synced sequence, you can "lasso" to select the clips on the timeline, right click and choose "Nest". After you have nested the clips, right click the nested sequence, go to "Multi-camera" and click "Enable". Boom, you're in business and ready to multi-cam edit. The advantage to this I guess is that you don't have to go back and delete all the audio tracks. Bonus tip: when I create the nested sequence, I always name it "[timeline name] for color correction" because when you open that nested sequence, you'll have your original synced clips ready to be adjusted for color matching or other clip-level editing.

Thanks for the amazing video! You’re a great teacher

thanks for the video. i am tempted to get a tentacle for when i am doing sound for a camera that does not keep good time and has time code input, or a dslr but for my own project i usually just use wireless camera hops via a sennhieser g2 or g3 and just use synchronize in PPCC from the scratch track sent to the camera.

Brilliant tutorial! Thanks Curtis!

Bro. I love these videos they are so good.

Thank you very much for this video, Curtis! I have a question regarding MIC vs LINE: If I leave a (Tentacle) Slave set to LINE, connect it to a DSLR and the Timecode Audio Signal is so loud, that it clips (like you demonstrated on your Camera with the Audio Meters), does that actually prevent the software in postproduction to synch it up (properly)? If not, why is it still important to make sure, that the Level of the Timecode Audio Signal is staying around -12db? Thanks in advance for your response😊

Hi Curtis, thanks for your great and useful audio gear reviews. It's now almost a year since you posted this demo, I hope it's not to late for a reply. When jam sinking a portable timecode unit from a recorder/mixer, is the jam sink being maintained even after powering off the recorder/mixer? My question relates specifically to the Zoom F4.

Hello Curtis, is it possible to make a video on a step by step set up to integrate the Tentacle or the TimeCode Systems Sync One to the zoom f4? Another question, if i plug either the tentacle or the sync one to my zoom, then i will need another one to plug into the camera and leave them both on correct?

Hi Curtis. Thanks first for all these videos! Great material. I have a D750 that I output to an Atomos Shogun Flame which has timecode and sync and I have a Zoom F4 with timecode in and out (but no sync?) and I'm interested in making sure they're in sync, after your videos I figured out how to jam-sync them together, but I'm interested in genlocking them together to ensure there's no drift, do you know anything about that? Or would having one of them use external timecode solve that problem just as well? (I can imaging needing two cameras in the future, so a solution that works with that would be best). I do understand that for the most part you don't need to worry about drift until you reach, at a min, 4 hours ( I saw you tracked the F4 timecode for 8 without a frame of drift). But I'm interested in using it for music applications too which is much finickier about having perfect sync.

Just watched it...very concise. I'm recording with it tomorrow. Need just a quick run through cheers!

Thanks for this Curtis! Been using Timcodesystems Ultrasync One for my RED Scarlet-W and a Mixpre-3 and it works fantastic. But a thought struck my mind, would there be a risk where the timecode generated by a timecode generator could get “stuck” between two frames on a camera... or do they just work and this would never be an issues. Just thinking about the difference between genlock and timecode sync.

Thanks. I've seen these products, but never in action

Hi Curtis ! I would like to buy the Tentacle Sync to use with my Zoom F4 and Canon 7D MKII I'm confused about if I need to buy one or two Tentacle Sync to do this. I know I need one for the Canon 7D but do I also need one for the Zoom F4 TOO ? Thank you for all your help ! Scott

Hi, Thank you for the demo on time code ... anybody working in the industry today should watch this. Like all of your videos that I have watched you are very good at presenting information clearly and at a pace in which it can be understood. Thanks so much! The one Question that is hanging out there in the time code realm; when I put a audio track time code on a channel, will the editing software see it and use it. ( as in premier you show it does not) but will AVID! thats what I need to KnowThanks again

One of the most informative and clear channel so far, well done again Curtis and thanks for sharing! This video is making me to consider buying a Zoom F4 instead a Tascam DR70D. Though I have one question you should probably clarify: is that possible to sync the recorder with the camera directly, maybe with a specific cable between the TC out of the Zoom to the mic in of the camera? Or those recorders can't send this audio sync signal by themself? I find quite excessive to have to pay one of those expensive little sync boc (tentacle or the other) if the recorder remains close to the camera and the footage keep on single camera setup. I got the Zoom manual file, but did not find the information in it. Maybe a newbie question though....

Great video! Hoping you can help with a question. I'd like to sync my Zoom F4 with my H6 for live music recording of up to 10 tracks. My idea is just to run TC out of the F4 into one of the audio tracks on the H6. My question is, without using something like Tentacle Sync, how does the "audio TC" get read by the NLE? I use both Resolve and Premiere Pro. Even slating isn't reliable in this case because of the varied distance from source to mics. Any ideas?

Thank you for great informative video Curtis! I'm going to be conducting a series of oral history video interviews with single camera (GH5 when released). Plan is to place lav on subject as well as use hypercardioid mic on boom and record two separate mono channels. Also plan to send audio to camera for 'scratch track'. I'm on the fence about whether I need spend extra $300 and jump for a Zoom F4 w/ timecode support, or if I can get away with audio sync only and buy a Zoom H6 (and save $300). H6 has convenience of also being self contained field recorder for 'b-roll' audio. I envision oral history interviews will be 1-2 hour sessions. I will be using excerpts of the interviews in larger documentary project. I'm wondering if it's worth extra cost and if I'm over complicating the workflow with timecode for single camera. I'm concerned about drift of audio-only sync for long interviews. Willing to slate as needed during production. Post will be done in Premiere Pro. Thank you for any advice you can provide!

Also, what kind of audio bag do you use? That looks much nicer than the PCF-8 I have for my F4.

This is sort of off topic, but what audio bag model do you show in the beginning? Are you happy with it?

This was extremely helpful. You can jam to the Tig instead of the tentacle correct?

Always enjoy your video and great learning. Just wonder is there any time code generator that is less expensive than the Zoom F4? Thank you once again,

Hey Curtis, so if I use my Zoom F6 for external recording, and my a7C to record video, and I use the tentacle sync e or just run the timecode line out from the F6 directly to the a7C mic in, this allows me to now record a bunch of separate video clips and a bunch of separate audio clips, bring all of the files into tentacle sync software or DaVinci resolve, and the video and audio will be synced up without my having to manually track on a piece of paper or in a note on my phone each audio track name that corresponds with each video clip name? Sorry for such a basic question, I'm completely new to external audio recording with time code

Evening Curtis - just bought the tentacle Sync - great little unit. I know it's a bit off topic but, would love your feed back Re: powering the F4: town between the Hawk-woods NP1-35s OR Swit DV- Li-on s-8770s (Sony style). Using then with a back up of Eneloop pro's in the unit. thanks for your time - Love tour Videos. Craig

I have clients asking for synced audio directly from the memory card in the camera. This is usually when I run two cameras at once for interviews/doc work. I shoot with an fs5ii. Last time I synced in post (premiere) the client was upset that they did not get the raw video file directly from my sd card on my fs5. I sent them 2 prores files with 0 compression (since I also recorded to prores). Both files had perfect audio sync. A cam and B cam. But still, the client was displeased. Any way to sync timecode directly to the cards in the camera? Sometimes I roll an a7iii as a B cam as well. Been researching on this and have yet to find an in camera solution. Thanks for this video! Helped me out a ton

Hello Curtis, excellent session, once again, really appreciate your efforts! Question: Say we sync an audio track with the video perfectly by clapperboard method at the beginning, can drifting still happen at the later part of the video? What causes that? Will timecode workflow eliminate drifting problem all together? Thanks in advance.

Hey Curtis, great video and thank you. Can you still export media option from the app with raw files like braw? Does it create new media files or simply attach the audio track to the existing media? I’m using premiere. Thanks!

Hi Curtis, Just a tip, never unlink audio and video. Select audio with the alt pressed, it will select only the audio or video, easy to delete or even change the length independently!

Hello. Can I use the Timecode in my Sony fx6 to sync with a zoom H6? Can the fx6 jam Timecode into the zoom H6? New filmmaker here learning. I need to start external recording and looking for the best solution.

I have a Zoom F8n and a Blackmagic 6K camera. Is it best to sync them with a Tentacle E, and then leave the Tentacle connected to the camera all the time? Also, if I'm shooting in a studio, can connect the F8n TC Out to the camera (F8n is in a bag) so they stay sync'd up? Sorry to ramble, just want to do things the right way. Thanks as always!

Hey Curtis, I realize this is an old video but had you exported as media it would write file timecode to all clips and you could do the multi cam setup with timecode

Hey Curtis, any updates in PPro and/or Tentacle Sync since you made this video regarding being able to to use timecode sync in PPro when using the audio signal TC in-camera?

Is there a way to use the TC in say A7Sii and Jam sync it to the F4/8? What connection would I use for that? How about an HDMI to SDI converter (I don't really know what format the TC inputs on the F4/8 are so) sorry if that is silly. I see that SD supports Sony A7Sii TC on the MixPre 3/6 but because it doesn't have an internal source I would have to stay tethered with an HDMI cable between the Sony and SD and that seems crazy for location sound. I understand that I could use an audio channel in the camera and I could use the Tentacle Sync or TIG devices but since the F4/8 supports Jam sync as you have demonstrated I would like to try the reverse and without the additional cost of the separate devices.

Hey Curtis ive two question regarding timecode. Firstly if the signal coming into the camera from the timecode device is a bit hot does this is anyway affect the ability to sync later in post? Also how problematic would it be to change the frame rate while using a tentacle for example. At weddings im constantly hopping between 24fps and 60fps and im wondering if i was using a tentacle here would that mess up my ability to sync?

One thing I didn't quite get is at what point does the camera sync with the generator if receiving TC as audio through the mic in? Is it instant? Do you have to be recording with the generator hooked up at all times? I guess what I mean is when can you disconnect the generator from the camera.

Good morning Curtis, would you recommend the Tentacle Sync over the Mozegear Q28? I know the Mozegear has triple AAA batteries, while tentacle has an internal battery.

Hi Curtis, I shoot airshows at 60fps, yet all Timecode devices max at 30fps. Will running TC at 30fps be a real problem with syncing in our NLE?

Hey guys, Is there a reason why Curtis was using the ZOOM unit to measure the noise floor as oppose to using the Sound Devices one? Also, can noise floor be measured in real-time? I'm completely new to this and am trying my level best to understand "how to do it right". Thanks for any help you may send my way.

Great video do you have any link to the time code generator?

Hey, hello again. Great vid, I want to jam a zoom f8 time code out into a cannon c300mk2 film camera using a BCN cable, is that a possibility? thank you.

Hi Curtis, I'm going to shoot a doccie in Japan with a Canon C100 and Zoom F4; so no timecode link. I will send the mix down to the camera from the F4. But what's the best TC settings on camera and F4 to be able to sync up recorded tracks individually (vs. the camera mix-down)? Should I use 'Int free run' in the camera and F4? Thanks?

I'm 5 years late to this party. Recently (late 2021) I fed timecode from my MixPre 6 in to a wireless transmitter and set two receivers to the same freq - one for each camera. After a short recording I fed the 3 files (one audio and two video) in to the Tentacle Sync demo. Very quickly the files were in sync and an option was there in the app to send a multi-cam file straight to Final Cut X. That's all there was to it! Too bad FCPX does not natively sync audio tracks with time code recorded on them the way it does with regular audio. I tried. Wondering how long it takes for jam sync to drift and how much drift can we get away with. I experimented with my MixPre jammed to an external time code generator and after 20-30 minutes they were two or three frames out of sync. That might not seem like a lot but at the end of a long recording those files will get further out of sync.

Watching this in 2020.... Does the tentacle sync studio allow you to export XMLs for Final Cut Pro X yet?

hi, if I buy a camera that has timecode in and out connectors , can I sync it with the audio recorder directly with a cable ? Do I have to sync them again each time I turn them on ?

I possible to synchronize the turn on and off of the recorder with che camera?

Will the Tentacle Sync software just take a video file (.mov or .mp4) with audio timecode and convert it to a video file with file timecode? Seems an easier way when processing Multicam clips in Premiere.

Timecode vs scratch audio? Is it the same or is Timecode the best way to sync everything that was shot at the same time? I assume it's better to just scratch audio as Timecode was the way Before scratch audio syncing exist? If you have multiple gopros, sound and video recording equipments, having them have a timecode device wouldn't be so ideal as you have to ensure mounting and it not getting destroyed during certain shots makes it better to just not use it. I assume timecode is great when you are in a controlled environment with many high-end equipment and using scratch audio in expensive budget shoots with no timecode immediately makes the production team look novice and unProfessional but ultimately in post, scratch is the same? What if the frame rates are off slightly over time? Does timecode "heal/correct" this? Can scratch do the same or do you have to break up the things in segments to keep the audios synced? I think.. timecode excels when you have setups running concurrently in different places that have no way of having the same audio feed. I can't come up with a scenario but there has to be a few good ones. Perhaps if people were drag racing or flying a race in 2 different aircraft or more, the audience and other things going on with mics on people on the ground (interview) and in the air (commentary), rather than trying to match it all up in post to determine chronological order and synchrony, timecode makes it simple to do director camera cuts. Basically, make your life easy and do Scratch when all the audio can be recorded on all the equipment and do Timecode when you will have situations where distinct similar audio cannot be picked up on the devices at the same time.

If your camera had time code built in would the master still be the external recorder ?

do you know if i am able to run timecode on the zoom HN4 or 5?

Will these devices use SMPTE timecode with dropframe?

What would it sound like if you played the timecode audio?

.. Thank you ! …

Do you still recommend the Tig timecode card?

do you lose timecode if you turn off the SD633?

Anyone know if the Mixpre 3 ii can be used as a master as easily as this?

which mode of tc has the 633?

If I am not using timecode but forget to put the timecode off, will it create problem in the post in syncing?

So no more need for slates then?

No body sells the Mozgear TIFQ28 any more

yall should listen to what timecode sounds like, it's pretty funny.

can't see anything

A lot of work for not getting sync. A hand clap seems to be faster, better and cheaper. Things seem to have improved in 2020 though.

honey!... I need to spend another $1000 on ANOTHER field Recorder