Great video! An alternative option if you use DaVinci Resolve is to do the split channel timecode through the 3.5mm Jack. The C70 won’t pick up the signal internally, but in DaVinci you can “Update Timecode using Audio” and get Timecode sync without having to use the BNC method, means you can also record one channel straight to camera. Unsure if premiere has this.
Hey please answer quickly I ordered this but may return once I get. I have the wireless go2 but I use for sports and I mic up players. On a football field I have rough time syncing because I record and stop the whole game which sometimes it looses audio which I have to hope fcp syncs the audio for the internal recording. If I Jam sync my fx6 no matter if I lose signal will the internal have the same timecode the whole time?
Yes with timecode enabled on the rx unit the tx units will receive timecode and that is viewable in the audio file in fcpx. Just make sure you set the correct frame rate on the rx unit to match your fx6 then jam it and you should be all sweet. I’ve done short tests at home and have synced the footage and audio files via timecode successfully. I havent had time to test a longer scenario such as yours but I might be able to test that on a shoot tomorrow. Just remember to re jam the camera after 3-4hours for safety to avoid drift.
Nice breakdown. Thanks for the heads up on the stickies too in the other video. Did you know you can switch between modes by holding down both bottom buttons on the RX when its on the main screen. No need for any app. Was a huge time saver for me.
Too easy, thanks for watching. I didn’t know that so thanks heaps! I think you just need to have those timecode tabs enabled for them to so up via those two buttons. now that I’ve turned those on that’s a huge time saver. I really appreciate that!!
Hey there, thanks for making these videos. I have a question for you, I see that you have a small shotgun mounted on top of your C70 as well, I assume you are recording the two lavs + that mic all separately. That is what I'd like to do with my R5C, can you think of a way? I thought I'd get an input on the RX but I guess not, right? One other thing that has me cooled down a bit since ordering (just got them) is seeing another video mentioning they might not be ideal for indy documentary filmmaking due to the fixed battery of "only" 7hrs which I guess sometimes might come into play if I follow someone for entire days. Any thoughts on these two things? Would come handy since I could still send them back. I also own a Zoom H5.
Hey, yeah with the c70 having the two mini xlr ports and one 3.5mic port I can record all three to camera at once. Using a left and right split mini xlr to 3.5mm cable, I can send the split channel of the rode wireless pro (RWP) to channel 1 & 2 on the c70. Then I plug the ( self powered) shotgun mic into the 3.5mm mic port and record that on tracks 3&4 on the c70. (Noting that the 3.5mm mic port obviously can’t do phantom power,) So the above is for jobs where I know I’ll need to use 2 lav and I still want a good on camera shotgun record as well. If I know I will only need one lav and want to get a shotgun mic closer to the talent I’ll pop a (self powered) shotgun mic into one of the tx units and a lav mic into the other. Then with the rx until being set to split the 3.5mm mic input on the r5c can take a separate track for each. In that set up I’ll also turn tracks 3/4 on and have them capturing via the r5c’s onboard mic as a scratch track. I haven’t tried this myself but maybe a way to get two lavs plus a shotgun into the r5c would be by using a 3.5mm splitter and plugging one into the rx unit and the other into a shotgun mic. Then make sure you set the rx unit to ‘merged’ so that both lavs are coming in via only one channel. The other channel on the r5c being the shotgun mic. If you then needed the access to separate lav tracks you would just grab them off the tx units recordings and sync in your edit. Battery: Yep 7 hours is a risk given you don’t really want to have to power off and on throughout the day. This is why I have two sets, that way I just swap out the first set mid way through the day. Obviously that’s a big price tag to pay for not just being able to change AA batteries but in my case I do end up shooting interviews where I need 4 lavs, so I could justify the cost when I bought them. And luckily most of those interview shoots don’t go for more then 1/2 hours or so. I do prefer the smaller size of the RWP’s over the larger units that have 2x AA batteries. Also, it you thought you were going to be on a long shoot you could just plug the units into a small usb battery pack as well. They will still record while charging. Obviously you’d just have to work out a neat way the hide the usb cable and battery pack. I haven’t tried that option rode mentioned about plugging a headset into the rx unit. I think it’s got something to do with using the usbc port as the output and then using the 3.5mm port as a mic input. In my head I haven’t worked out where that input would record to? Like is it merged with the others or something else??
@@videographerstuff539 yeah I saw that in the rode app when selecting split you can have tx1+2 on one track and "headset" on another track. Yeah, I was also getting to the conclusion that a second set would solve it all, since you can then charge them back in the case in a loop... I guess I'll consider that option down the line but I'll make do with one set for now. Alternatively a small zoom recorder with a lav could come in for these really long shoots. Good to know they can be plugged to a usb bank or charger while recording, that alone might solve everything for me to be honest. So the R5C can record up to 4 tracks but 2 of these will always be the internal mic?... I do wish they gave us a bit more professional I/O on this "cinema" camera (also bigger hdmi for example..).
Yeah the r5c is annoying in ways for sure, the battery life is the killer for me as well as that tiny hdmi. Surely they put all the best parts into a new c70 in the come year or so 🤞
@@videographerstuff539 Yep, it was still the best camera for me when I started this business for sure though, because I also bring most of my income from stills. I'm trying to transition into DP work (events, commercial and ideally documentary) so I think my next camera will be a dedicated cinema one and the R5C will become the B-Cam. Waiting to see what comes out over the next year indeed! I have the R5C all rigged out now with V-mounts so most of the quirks are worked around. Thanks again for your help and for your videos.
Unless there’s an adaptor for the hotshoe that gives more inputs I think the main use form3/4 if not using the onboard mic is to set it as a safety track for tracks 1/2. Setting it at a lower gain to avoid clipping. But I guess float sorts that out in the rwp for us.
Yeah mate that’s the way I run with it. Doing it that way gives the option of having separate tracks in post within the video file. I find it faster that way if nothing has gone wrong and I didn’t have any wireless dropouts or clipping needing to use the 32 but float file. Obviously you could just sync the onboard 32bit float recording from the tx units in post if you needed to.
Just checking on the audio settings of c70 you have selected ‘separated’ on the ch1/ch2/alc link option? The cable I have is the Kondor Blue Dual Mini XLR to 3.5mm Stereo Splitter Right Angle
I’m now getting into timecode. It’s simple but the more I think about it, I get confused more. Scenario: so I have two Sony cameras. When I sync both of them with the rode wireless go RX, and change the mode to 1 where I can get audio coming direct into the camera. So one tx will be put on a bride, and 1 will go to the groom, which means both of their mics are being recorded to my A camera. How do I get audio into my B camera ?
Hey mate, yep it can get a bit confusing. In basic terms, when cameras are in sync via timecode, there is no need for them both to be receiving audio. Because in your editing Software you will sync the audio file from the rode to each of the video files. Or, you’ll sync the audio from A cam to B cam via timecode. Either way. But, what we do in most cases is have the built in mics of the camera turned on and we call the ‘scratch audio’. (This will obviously just capture room Audio) it’s Just so you can audibly hear that the file has matched up correctly in post and as a worse case, a backup or clapping atmos for a wedding edit maybe. If you really wanted to make sure both cameras had the same audio running into them, you would use a 3.5mm splitter plugged into the headphone jack (of the camera with your rode RX plugged in) then, using another wireless kit you would put a TX unit into one of the splitter ports then plug its RX unit into the other cameras input. That way the audio coming out of camera 1 would then be send to camera 2. Which Sony cameras are you using?
Too easy :) I dont have those cameras but I’m pretty sure they don’t have a dedicated timecode input. So to give them timecode you would need to keep the rx unit plugged in the whole time. It gets a bit more complicated in that setting. Because in that scenario that (timecode noise) tone becomes the timecode signal on the audio channels then you’d use davinci to ‘sync via audio’. Then export the the xml file…… its rather time consuming, hahaha I think in your case, with those two cameras, don’t worry about syncing timecode on the cameras and like you were saying just get a line out to the b-cam. Let me know if you get stuck, happy to help
@@videographerstuff539 i did a lot of research. i can record tc as audio file. i get it now. but my next question is , i only have 1 rx, so if i have one plugged in one camera, how do i get audio into my other camera? (i might be overthink this thing lol)
This is the expensive part, you would need to buy another set 😀 Option 1: you would use a 3.5mm splitter plugged into the headphone jack (of the camera with one of your rode RX plugged in) then, using the second wireless kit you would put a TX unit into one of the splitter ports then plug its RX unit into the other cameras input. That way the audio coming out of camera 1 would then be send to camera 2. Now technically I’m not sure if this option would be dead on frame accurate as there would be the slightest lag between the headphone jack to transmitter then back to rx and into camera. You could totally just buy a second hand kit of rode go 2’s to save money as it doesn’t really need to be the pro version of you are just sending the audio from the first camera to the second one. Is it mainly the ceremony and speeches that you need to sync the two cameras together for?
I do it putting two cable together. First one is 3.5mm to bnc, then using a bnc female to female joiner I then use a bnc to Din 1.0 (which is for the r5c port.) I got the bnc to din from Alvin’s cables. The bnc famale to female joiner you can get from most electronics type store.
@@videographerstuff539 Great video! I also use a C70 and R5C and I just purchased the Rode Wireless Pro. Would a 3.5mm to Din 1.0 cable work for the R5C or will I have to use the same bnc adapter for timecode? Thanks in advance!
I'm using a canon R5 and I'm following roads directions Word for Word and for some reason when I'm using final cut and I select my clip and I select my audio and then I tell it to synchronize for some reason time code is greyed out. Super frustrating. I have no idea what I'm doing wrong.
I think this is a whole bunch more complicated than I first imagined. Firstly: are you doing the first step using davinci resolve(dvr)? I downloaded it and tested the following. Rode tells you to import the video file, tell dvr to read the timecode of the video file from its audio file then sync that file with the rode audio file on the dvr timeline. From there export the timeline as a .fcpxml 1.11 file. From there go into Fcpx, import- xml, then open it on the timeline. What I found from there was that the video file was blank, so I just right clicked on it and selected ‘show in browser’ then just dragged that on top of the black one. Then created a compound clip. Simple as that….. I can’t believe it’s that ridiculous! If you are getting a error message when you first import the xml file in fcpx,It may or may not help to make sure all files are in the same folder as you have saved through fcpx library. Here is the link to the rode dvr/fcpx how to: edge.rode.com/pdf/page/2218/modules/9192/Wireless%20PRO_Timecode%20Guide_FINAL%20CUT%20PRO%2010-6-8_FA%20.pdf
@@videographerstuff539 interesting! Yes I’m getting that screech of a time code sound. lol. I have zero idea how to use resolve and that step alone has me turning off time code and not bothering with it. lol. Thanks for looking into this. Definitely an error on my part.
