I know this is a big ask but I think it’s a good idea for a future episode. I’d love to see a walkthrough of essential equipment and essential crew for no-budget film makers trying to get into narrative film making for short films. How can you be prepared to shoot with at least two cameras, a reasonable audio setup, and have what you need for interiors, exteriors, and difficult shooting locations all while working with next to no budget?
Thank you so much for backing me up on this subject! :-) So many arrogant newbies think timecode/countdown/2-pop is old school and outdated. It's insane the lack of knowledge some professionals even have when it comes to post-production sound. It's become such a Drag-and-Drop soundpack Generation that completely disregards LUFS as well.
No wonder audio engis are always grouchy all the time, I'd be mad too if people didn't take my medium seriously, shit matters! This comment made me want to get a better understanding on LUFS, got any good recommendations for humble newbies?
Here’s an idea for a future episode. How does timecode get utilize when you have a small production and a camera like the fx3, fx30 or A7IV OR A7SIII. AND it does not natively support timecode due to the face it has no limo pin so you have to do timecode via recording jack? How do you use lav packs and timecode at the same time? I know this is a loaded question but that’ll make for a great videos and it’ll answer my question. I hope this is chosen.
What an awesome episode. Love getting in depth with timecode. Something that could go hand in hand would be an episode on IFB/IEM systems while on small and large sets. I know there are so many combos and I really wanna know how to implement them outside of budget cringing industry standard.
What about for those of us that don't use production cameras and maybe use something more like a GoPro and DSLR camera ? I don't have a production house to edit so I've been working on audio sync.... There's no producer, director, audio guy - Its just me but would love to have an easier way to sync different cameras.
Sounds all cool, but my Sony FX6 does not sync properly with the TC1. It is close but the five cameras are all off timecode by 5 to 10 frames. Not found a solution yet.
Thanks Very interesting Just didn't get the last words about different signals of starting shooting... Starting rolling... Sync signals And what are the nemes of the programs for... Loggers ? ,Script superwisers ? Assistance ? How do the all get correct timecode automatically ? For the notes... And changes thy have to fill
When will the TC-SL1 TIMECODE SLATE be available for purchase, Deity? You’ve removed the ability to order it from your website, and vendors don’t have an available ETA for it either…
Does Diety offer, or will offer, a software tool to read timecode audio for applications like Adobe Premiere Pro that do not read time code audio? I'm thinking of something like the app provided by Tentacle for their Sync products.
Can you timecode macros?! Like_-- say i hit play on a song i want to perform and record, can i record a macro of camera transitions with timecode. So when blackmagic sees the time again….. it will play the macro!? Thanks I am an electronic musician that has automated light shows through midi time code, and the computer that create that time code can send STPENTEP Tico
is there a way to place files on order by when they were shot . like lets say I record a 10 second clip and then 5 seconds later I record another 10 second clip, when I place them on the timeline I would like to have that 5 second gap on the timeline not the clips sidebyside
is there a device which can do something like "timecode notes" during the recording? Like during interview note parts which i like which i dont like, mispronounced etc.
Thanks for this awesome episode! Maybe next topic could be all the different connectors used in audio/video production… Beside jacks and xlr there’s a world of different standards!
I completely get the idea of timecode. Where the confusion creeps in, is related to the devices. How many generators do I need! One for each camera? One for each transmitter/receiver? Deity has a brand new line with built in timecode, how does that factor in? The idea that timecode is a reference point that syncs up video and audio is not hard to grasp. Where I get confused is, where timecode needs to be generated by third party device, or is built in (like with the new Deity Theos system).I really need diagrams and a detailed understanding of different timecode situations. What timecode does is relatively simple. How timecode is implemented, what, when, where, why, seems like endless options for decisions and choices. I have the Deity interview kit, pocket connect and interested in the new Theos system. How does timecode integrate with all the different possibilities?
When working at Charter Cable, we had 4hr recordings of LTC so we could shoot more multicam projects at once (only had one ‘house clock’) So if you can’t afford your own LTC generator, a recording fed thru a mixer to multiple cameras can do the trick. Ain’t perfect but beats the pants off waveform sync.
I would love to see a ’day in the life of a ...’ (fill in boom-op/soundmixer/pa...) so we can see the whole process of a day of shooting at a film-set, commercial, ... thanks !
Very interesting when we shoot in NYC we don't use a time code bix nor time code slate just a normal clap board old school style because of the type of budget but at the end of the day it all comes into play in post production. We keep audio/video logs which helps the editing process and the production gets done. We use DSLR camaras on location which don't carry a built in time code bnc input but my Zoom F4 field recorder definitely has both sync ports in the case we use a pro camara with the addition feature then were good to go in sync.
Really good video - although no mention of recording TC as an audio channel onto cameras (e.g. many DSLRs) that don't support timecode as metadata. It seems that not all audio editing software is able to easily convert TC-as-audio to TC-as-metadata.
Another request: I received my 3 part TC-1 set yesterday and while testing it, it turned out that its not possible to "update timecode from audio" with a wav file from my zoom H6 in Davinci Resolve. Would be very usefull to have a video on how to adres this problem.
Hey Deity, is it possible to run the TC-1 into a D4 Mini (connected to a mirrorless camera), so that the cam has slightly better scratch audio vs the onboard TC-1 scratch mic? Or will this break the LTC from the TC-1?
I just picked up 2 sets of the TC-1 Kit 3 Pack, which now gives me 6 of these bad boys for my future projects. Yes, it is more than I need at any one time, but it is always good to have redundancy. In case anyone is interested... the factory foam cutouts that came with the 3 pack manufactures box, pulls out and fits perfectly into 1/2 of a Nanuk 909 hard case. So now all 6 of my TC-1's have the perfect storage solution and includes space for all the cables. Yay!!
Can you do a segment on audio redundancy for production sound! I would love to know what a small production would consider reasonable. Extra recorder? Extra mics? Extra Lavs? I guess im also curious what is standard on big productions too. You previous interviews with sound mixers hinted at redundancy but several didn’t explicitly describe theirs.
This is so "boring" but so cool to see at the same time! Really appreciated covering all stages of production and when you need to bring it up or it can be used to your advantage.
I know when it comes to recording audio we have a few different options for data storage. What are the pros and cons of recording to your camera, or a separate recorder and syncing up in post. Are there difference in sound quality and, or ease of work flow? Why should we choose one approach over another and are there other alternatives to consider? Thank you
I think a great episode topic would be about including your sound mixer in the location scouting process. Explain things sound mixers look and listen for at each location and what things they can prep to make each space sound as clean as possible.
Woah! Great episode. And definitely did not expect the ending. Thank you for the episode and thank you for the VLav. A question. If I have a single camera, two lavs, a boom and a recorder, only the camera and the recorder will need timecode boxes, right?
Does each day of shooting have its own daily timecode? Or is there one master timecode that spans across all days of shooting? And if each day is separate, who logs and controls the timecode?
Great video! I'd love to see a followup further exploring embedded timecode track and metadata header versus BITC display and how that all communicates in post with digital video and proxy creation.
Thanks Andrew, great video. This is going to make my life much easier once I get it down. I'm up a running with four TC-1 boxes. Guess I need one more soon for a spare. I'd love to see a blow by blow of a 2 or three camera production from soup to nuts. Pre-pro... production (drill down to different cameras)... ingest... post (Resolve, Premiere, Avid). Also a shout out to David in support for setting me straight. Thanks again.