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Found 67 results

  1. Dear Ambient friends, today we proudly introduce to you our latest development – the NanoLockit! Visit for more details Continuing the 25 year history of Lockit boxes, the NanoLockit redefines the on-set timecode sync box. Since the release of the original Lockit, Ambient has never had a reputation for standing still – and we are proud to live up to our reputation with the NanoLockit. It extends the existing timecode product range and caters to the latest developments in camera technology and on-set workflow. Your Ambient Team
  2. I couldnt see a specific thread about Pluraleyes but I could see a lot of very sceptical posts about the softwares ability from around 2111/2012. I have worked with a lot of people (editors) who absolutely swear by it and when I do 5D work I can just give them the audio files and nothing else (it helps if times of day matches a bit) and I've not had wines or gripes. I did do one job here in ZA for an American company who insisted I got a big ass SD mixer (as well as top of the range everything which was hired at great expense) and we shot on some bigger Cannon cameras and the time code kept drifting and there is always the framerate issue. Now enough time has gone by for people to know. if you have a scratch track on the camera are you soundies and editors happy with Pluraleyes results or are there still sceptics out there and if so why?
  3. Hey folks, I recently saw this slate on consignment at a local camera shop, and I was wondering if any of you out there recognised it. it is fairly inexpensive, but it may be a case of too good to be true. I've done my own search, and have had no luck finding anything in current, or legacy products that even look close. It has a unibody design with an indent in the back as a handle. The T/C input is a 3.5mm plug. it takes 6 AA batteries with an opening panel on the back. There seems to be no brand name of any kind anywhere on it, control wise, there are 4 colored buttons on the back face next to the battery compartment. I managed to boot it up at the store, and it displays "TS-00" on startup before listing the battery voltage, similarly to Denecke slates. Talking to the folks at the shop, they were told it is from Russia, but they have no manual or any other info about it. The seller, likewise has no further information on it.
  4. I don't do it very often, but sometimes I convert BWAV files to mp3 for transcription. I have yet to find mp3 conversion software that will carry over timecode information from BWAV files into the mp3 tags. I know from experience that recording directly to mp3 from a Sound Devices recorder will spread all kinds of useful metadata-like information into mp3 tag fields. Timecode, track names, etc... But doing this after the fact via conversion software would be handy. Now that I've gone Nomad I'm curious to see how the mp3 recording option will handle metadata. It is yet-to-be-implemented currently. Actually, I'm going to HAT! Mark
  5. New timecode slate preorder is now up on our site for $600 and will retail at $699.99 once we start shipping. We expect to begin shipping July 5th. This slate shares the same code as the FDC Slate and the same temperature compensated clock. 5-Pin Lemo and 1/4" TRS Input/Output comes as standard and BNC connectors are available as an additional option. The case is ABS injection molded plastic with four screw mount points on the front for optional large slate panels. 8.75"W x 5.75"H x 1.75"D. Standard 5-Pin Lemo and 1/4" TRS Input/Output and runs on 4 AA batteries or external 5-16V DC power. There are easy to set buttons on the back side allows you to configure timecode, user bits, and framerate as well as easy to adjust display brightness knob located on the side. We are also offering a NAB special promo code 'nab2016' (valid until 4/30) for an additional 10% off site wide bringing this pre-order down to $540! Due to server outage the discount code will be extended for an extra day through May 1st.
  6. there have been a number of useful discussions here concerning wireless transmission of timecode, but i've not been able to find an answer to the following question … what are the consequences in post production of time of day timecode that has a timecode "jump" in the clip? case in point: in my quest to make life a little easier for my hard-working associates in the camera department, i have in the past considered ways of using the camera hop as a timecode device, and eliminate the bulk of the sb3 box. the lectro d4, for example, could be used as a stereo hop, with the third channel being used for tc. i've tested it, and it seems pretty solid, but when I begin messing with the d4 transmitter - powering down, removing the antennas to cause noise and dropouts - the camera (fs7 with the module) doesn't cut, but it does show a three frame glitch in the timecode before switching over to its internal generator. another thing i wonder about is the presumed "correction" that would occur when using an erx as a timecode source. if the camera wanders away from the zaxnet source, then wanders back a while later, discontinuous timecode, however slight, will inevitably result. if the camera is rolling when this correction takes place, how much of a problem is this for post production?
  7. Dear sound community, As timecode and sync technology is our passion, for many years we wanted to develop easily accessible, short-subject educational videos that break down and explain these modern production elements. Ambient University provides the information and instruction for low budget productions as well as the most sophisticated setups all around the world. Our videos about timecode and synchronization provide in-depth background information, while other videos demonstrate how to use that knowledge in the field. This video library includes step-by-step tutorial videos illustrating external timecode and sync distribution setups with the most commonly used cameras from ARRI, RED, Sony, Panasonic, Canon, etc. Our goal is to continuously develop and update the channel to provide the most comprehensive pool of knowledge on this topic – that's always available in your pocket. We hope you like it and of course are open for new video suggestions.
  8. Hello! Yesterday I did a shoot with Red Scarlet. I tried to jam the scarlet with my 633, but it would not jam. I set the 633 to free run, and went into setting->TC and set it to "brain", but it would not jam. I dident find the different TC setting rec run, free run etc. Can anyone tell me what I did wrong? Thanks.
  9. I was wondering if you do a stereo line cable for a XFR300 and input audio on one channel and timecode on the other, can it accept both or you have to select either?
  10. Hi all, I'm wondering whether any of these cables would allow me to jam the F8 and the Arri Alexa mini. First time working with both. Which one you would recommned should be the master TC machine? I'm aware of the sync issues but there is no budget for lockit boxes so I'm thinking in jamming every few hours and when camera and/or F8 are switched off. Here are the links to the cables and pics: thanks a lot
  11. Has anyone figured out how to read the timecode off of the DR-701D Tascam? I am using it in the field and the AE is not having success finding timecode in the AVID timeline. Is there a trick to find the timecode? Upon import, AVID is reading just a file starting at hour 1. The Tascam is reading TC off of a Tentacle Sync, the "TC" display is on and it is displaying running TC on the TC menu page. What menu setting am I, or the AE, not getting right?
  12. We proudly present one of the biggest Firmware updates in our history. Including Complete GUI overhaul, New Smart TRX Mode, Full Jam Mode, Custom Slate Clap Display, ... and many more improvements. To get the full story, just follow this link: or just download Firmware 4.01 on Kindly Timo
  13. Hey Guys, Just a quick question, I have been reading about on set music playback in the forms, and I couldn't find how exactly to make a Timecode Audio Track in Pro Tools. What do you guys use to generate that audio? Third Party plug in? In Pro Tools method? Standard audio files that you use over and over? (I have PT9 on a iMac.) Thanks guys
  14. Clutch Synchro is proud to announce availability of the ERX line of Interconnects. The cables are specifically made for either the ERX-3 (Locking) series of ERX-1 (Non locking Right angle) to specific cameras. Our first shipping product in this series is a standard ENG setup with XLR (mono) for audio and BNC for Timecode. We also have specific cables for the Red Epic/Scarlet and the Arri Alexa series that are both 2 weeks from shipping. All are available for direct purchase at Hit me directly with any questions of course.
  15. I just got an email from Zaxcom about the new ERX firmware v2.0 - This is yet another awesome free update from Zaxcom. Thanks for listening so carefully to your users! Mark O.
  16. Hey you experienced soundies, I've got a question concerning timecode modes on 633/664. Is there any disadvantage when you use the 24h run mode instead of free run - when used as a master? In my understanding the TC generator stays accurate as long as the mixer is on or the blue LED flashes. It flashes in 24h run mode and in free run as well. Does the 24h run mode stay as accurate as free run or does it permanently sync to the mixer's internal clock, which might not be as good as the TC generator. Or only when TC is lost? Or is the clock that good? Anyone knows? Greets! Mungo
  17. Here we go again! Pre-Orders available now on our website at! Pre-orders will end April 30th and will not be accepting any orders after that! Nearly a year after the first Kickstarter campaign we're finally ready to try again with the new design:-) Keep an eye out here for the link on Monday the 19th, 12:00PM PST. Link to the Kickstarter Campaign! :https://www.kickstar...-timecode-slate In the meanwhile, the website has also been redesigned with what you can expect from us after the campaign. The new slate has been redesign and improved based on feedback from those who have used the first slate. The new timecode generator can be used by itself or coupled with clapper and panel. It is also designed to lower tooling cost and initial fund down to just $34,000 to get everything made. For our Kickstarter, one complete slate will start at $600.00 USD and standalone display generator at $450. After the campaign is complete the retail price will become $699.99 USD and $499.99 respectively. Features: - Timecode generator supports frame rates of: 23.976, 24, 25, 29.97, 29.97DF, 30, and 30DF - Drift between devices is less than one frame (~35ms) every 24 hours - Sync from other timecode devices (Runs on internal clock after jamming) - Jam or run off of an external timecode generator - Worry free rain or shine with Water Resistance (IP 55) - Standard 5-pin timecode input/output - 1/4" TRS timecode input/output - Easy to adjust display brightness knob - 16 hour run time with display continuously lit on maximum with 4 AA batteries (Batteries not included), or run indefinitely off of an external power source DC 5-16V. - Display can be removed from panel and clapper for standalone operation. - Solid wood clapper sticks makes a clear and sharp snap. - Solid and sturdy construction. The front panel is made of steel and powder-coated with white dry-erasable surface. The display module is black injection-molded ABS plastic and houses the electronics. Display only: 8.5"W x 2.1"H x 1.75"D, 12oz Display with Panel: 8.5"W x 6.5"H x 1.5"D, 33oz Extra sealing upgrade will allow you to take the display into shallow waters. Included will be a sealing cap for the 5-pin Lemo port. We won't be able to test up to IP66 rating with 3D printed parts, so final rating will not be available until production models are made. BNC available as a post-production mod, this option will not be weatherproof. Products available after Kickstarter Campaign: - Convenient LED front lit panel - Larger user swappable slate panel for front boxes Many many special thanks to Adrian Zaw, Bao Quang Pham, Kenneth Ho, Kyle Portman, Helen Kim, Nate Votran, Lily Pham, Nam Luong, and Sourita Siri for being part of building this Kickstarter campaign. My personal website can be found at, as well as my linkedin profile at All of the attached photos are of the prototype and as such the texture of the 3D printed enclosure is pretty rough. The final injection molded product will have a smooth finish.
  18. Syncing Mad Max - Fury Road I had the pleasure to do an interview with Ben Osmo, Production Sound Mixer and Oliver Machin, Sound Department Coordinator & Vehicle FX Recordist about their work on Mad Max - Fury Road in the desert of Nambia, Africa. Three units with up to 12 cameras worked simultaniously, sometimes up to 7km (4.35 mi.) away from each other while driving with 60-90 km/h (37- 56 mph). The air filled with desert sand containing metallic parts that drastically decreased wireless range, while the VFX dpt wanted the camera to use the UTC time information from the GPS satellites to be used as the reference for timecode, which enabled cross referencing between GPS positioning and the pictures. Over the course of our three-hour interview, Ben & Oliver recalled detailed information about their workflow, the tasks they had to manage, and their solutions to the technical challenges introduced by production demands and environmental conditions. Read the full story
  19. Does anyone here have any experience related to sending timecode wirelessly to a camera audio track and the workflow of using audio timecode in post? Timecode sync is essential for a upcoming production i will be working on and the style of Doc won't allow for TC slate or anything like that. Using the 664 I will be sending audio via 2 channel hop. I would like to attach a lockit box to ensure sync but there will be no TC I/O on the camera unless a extension is added. I'm pushing for the extension but if the budget won't allow it I, would the below set up work? 664 TC Lemo to TA5 female into the Lectro SMQV, then from the Lectro dual receiver to camera, To me this seems risky and it would be a massive headache, especially if in post if the TC can't be decoded for whatever reason. Also don't think pluraleyes will be an option as I read in this forum that it doesn't like multi channel audio files? Will be 8+ tracks poly wavs mostly. Any thoughts? Thanks in advance!!!
  20. I'm working on coming up with a system to manage sync wirelessly over 2 to 3 cameras and 2 or more audio recorders. A little background: I'm traveling around this summer working as the audio department recording music festivals and performances of various genres (mostly folk/etc). The cameras and the audio recorders have the distinct possibility of being spread somewhat far apart, and should be mobile. Currently, the setup I'm looking at would involve sending TC over Wifi from one central, accurate generator to an iDevice attached to each camera/recorder using Movieslate. From my research, this is the least expensive actually workable solution. Pretending for a moment that the above solution works (and I'm open to suggestions otherwise), here's where things break down. Although I'm not necessarily involved with post-production, it is in my job description to make life easiest for the editors. I'd like to be able to take footage from each camera and recorder, throw it in a NLE, and have everything line up via TC regardless of if the clips are contiguous or not. It seems to me like there should be a way to do this, but I haven't found it yet. A verbose explanation of the problem, better than what I can write, can be read here. To reiterate, if I let TC coming from the central generator free run starting at the beginning at the day, all the recorded media from that day will be stamped with a version of "time-of-day". I cannot, however, find a software solution to interpret multiple cameras and audio streams and place them into one timeline based on that time-of-day stamp. What's worked for you? Thanks for the help.
  21. Hey all, First for everything but I ran into a situation a few weeks ago where for the life of me could not jam the Red Epic. We tried two different sync boxes and two different cables. One of the cables was the 3 coloured BNC deal (yes we used the yellow one for timecode sync) and one was made by a reputable company that deals with Location Audio Products. Nothing. No green light on the TC . Someone else been running into this? The guy who owned the camera just shrugged and said he had just updated the software.. B
  22. Im trying to make a lemo 5pin to 1/4" trs time code cable to lay tc into boom recorder from my 664 and am confused about the wiring on the trs end. Any thoughts if I am on the right track? Lemo: pin 5 (tc), pin 1 (ground) 1/4": tip (tc), ring (not connected), sleeve(ground)
  23. I have been using Boom Recorder successfully with my MacBook Pro and a Mackie Onyx 1620i mixer, with the Firewire option. I recently upgraded to 8.5.0 and the MacBook Pro is running Yosemite. I have worked with this setup without a problem, until today. We did several setups without incident until, around 10am, I lost timecode and the software aborted the take. Luckily I was able to switch to my backup recorder, but I lost a couple of takes and, more importantly, production had to wait for us. I restarted and did all the pertinent troubleshooting things and it eventually came back, but it's not reliable, and it cuts off eventually. Timecode comes from a Denecke SB3, feeding track 16. During my troubleshooting I noticed that BR sometimes doesn't recognize the Mackie. I wonder whether I'm missing something that would cause this intermittent problem. I'm on set right now, and will be working on this project (national TV commercial) the rest of the day and tomorrow, and am quite baffled. I would love to resolve this and keep working with BR. Any tips you may have, please feel free to text me at eight-one-eight-640-6268 or email me at blaskisic-at-mac-dot-com. Thanks in advance! BK
  24. I've looked and read through many different forums and websites trying to get a straight answer, but I'm not 100% clear on what I need. Here is the situation: I have a multicam interview shoot with one ARRI Alexa and one ARRI Amira. They want timecode to be synced between cameras and the sound recorder without being tethered. I am recording on a Sound Devices 552 mixer which doesn't generate timecode. What I need is a straight forward explanation of what I need to rent to make this happen and how to set it up. Does anyone have any input? As a side note, I do NOT want to record timecode through XLR, I want to use the TA3F Connector so it timestamps the audio file. I've never had to sync timecode before, so talk to me as if I'm a complete moron in the matter. PLEASE any thoughts and references would be much appreciated.
  25. I have made a (hopefully) useful list of different connections that popluar cameras have for jamming timecode and for scratch tracks etc.. For the Full List visit: at If you want the newest cameras including Amira and Sony F7 then get the offline PDF version that you can use offline : Arri Alexa (and all versions of it like Alexa XT.. isn't that nice of them!) see on RED Scarlet / RED Epic / RED Epic Dragon see on RED One Timecode - LEMO 5-pin Timecode In/out (TC) Audio IN - 4x 3-pin mini XLR connectors as a side note they mentioned these bits relating to audio which could be a job saver if not a life one: - You should always use a RED DIGITAL CINEMA XLR to mini-XLR adaptor cable, which provides a -4dB pad, to achieve an appropriate input signal level. - The 48 V Phantom Power source is automatically disabled on each power cycle - Low sensitivity phantom powered microphones may exhibit excessive noise, so consider an ex-ternal +48V phantom power source, or use a dynamic microphone. - Input Level range for Microphone Inputs is +36dB to +54dB. - Input Level for Line Level inputs may not be adjusted. BlackMagic Cameras Timecode - N/A Audio IN - 2 x 1/4” jacks for professional balanced analog audio, switchable between mic and line levels. SONY F65 Timecode - BNC Audio IN - N/A View the full list: Thanks