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Found 23 results

  1. Watch Full Video or read companion article at: https://henrirapp.com/sync-for-video-production/
  2. Hi all! I'm considering buying a single tentacle sync device for my sound kit. Now I know the magic with this device comes when using the provided software. It will interpret the timecode sound from the footage to timecode data and then sync that up with my audio. But how do you use this in a situation where I work for a client who does not have the software and is not really into buying the software for this project. Anyone has some experience in this? Is there another way for them to sync the tentacle sound data without the software? I know when using a higher end camera there i
  3. 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 video
  4. I'm not really sure if there is a way to fix this but that's why I'm posting here. So my audio is out of sync with my image because I was shooting with the sony fs-700 at 24p (lav mic going into the sony) and forgot to switch over my odyssey 7Q recorder to 24 so it stayed at 29.97. I transcoded the footage with the audio to 23.98 it's synced but the pitch is way off. An audio friend of mine used protools to try and normalize the pitch but it still sounds a little off. Anybody else have any ideas on how to fix it? Below is a link to dropbox to download the footage and audio if you woul
  5. Hi all, I have been asked to do sound on a 5D shoot. - Mk2 or Mk3 (TBD). - Sometimes a pair of 5Ds. - It is documentary. - We will shoot in Armenia. - No post house on board yet. - Editor not yet confirmed. - Likely to stay like that until we return from Armenia. - First production meeting Saturday. I have some obvious concerns about sync. - I have only one Lockit. - My pair of Tentacle Sync boxes might not arrive by then. So plan is: ERX on each 5D; - 5D Left track - scratch mix (for PluralEyes) - 5D Right track - TC (for AuxTC Reader) For the interviews this se
  6. 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 thro
  7. Hi all! The crowdfunding campaign for the Tentacle Sync is ending in less than 24 hours! They still need (only) 15'000 Euros to make it happen. Get yours at https://www.indiegogo.com/projects/tentacle-sync-time-to-sync-different http://tentaclesync.com Cheers, Jürg
  8. NEW QL Timecode Generator We would like to announce the newest member of our Tig Q family which is the QL. It offers all of the accuracy, features, and size of the Q28 but without the Lemo. We know that some users just want a locking connector but don’t necessarily need the Lemo. Now the QL fits those users at the lower price. Intro Price - $399 Top Feature Highlights Proven Tig software design that works well with all types of cameras, recorders, and even “i devices” Quick and simple set up for easy use Locking 3.5 connector Durable design with center beam - We have run over
  9. TIG Timecode Generator Durability Test I love durability tests and think they are so much fun. So we decided to do a video showing the TIG (timecode generator) being driven over by a truck and dropped off the back. It survived very well (especially considering we drove over it about 20 times and dropped it over 30.) So here's a TIG and a truck: https://plus.google.com/112281036772159173979/posts Laurie 480-292-9060 lauriew@mozegear.com www.mozegear.com
  10. Fine people of the internet I pose this scenario to you: I own a MOTU Traveler MK1, not MK3. It claims it will "resolve" to SMPTE via any audio input and send out SMPTE via any output. The software it ships with, the MOTU Firewire SMPTE console, controls all of the SMPTE options as you'd imagine. The frame rate selection does not include 23.98 fps but only 24, 25, 29.97 DF/NDF or 30 DF/NDF. Digital Performer 5 also has this same limitation as does my older version of Nuendo. I also own a 664. I have jammed the Traveler from my 664 at 23.98 fps and it seems to hold sync for an hour
  11. i am trying to sync 2 788t's. not linked together. Ive read through the manual numerous times and came up empty. ive searched on the internet to no avail. starting to get frustrated with this. I have a lemo to bnc and a standard bnc cable. Set my master to Freerun and slave to rx ex. didnt work. Any help or suggestions would be greatly appreciated. ced
  12. I have a hypothetical/theoretical question about timecode. I am not asking for any practical reason, and I have no timecode enabled equipment to test this on myself. Just a curiosity. I'm pretty sure I understand the differences between timecode and genlock/sync, namely, that timecode alone does not force synchronised recording speeds between devices, it only stamps synchronised time numbers over the top of the recordings. EG, I am aware that if one jam-syncs the timecode of multiple devices at the start of shooting, then disconnects the timecode cables, after a while, the timecodes (and t
  13. hey all, Im kinda in a pinch, on a small budget. I will be running sound for a single person interview w/ multiple takes this sunday. I have a 788t. Limo out to bnc is the only cable i have to use. Obviously the 5d does not have a bnc in. I dont have it in the budget for a Denecke time slate or timecode buddy. Does anyone have any suggestions on a way to sync my 788t (master) to the 5d without potential for alot of drift.. the good ol hand clap? Any suggestions would be greatly appreciated. thanks ced
  14. Hey all, Getting into timecode and worried about whether I'm totally #$@%i@ things up or not. Followed and what a few mixers have told me (and searching on JW a bit) have told me that I could jam from the recorder to the camera and that it should be fine. Without a lockit box. However, the Alexa manual is kind of brief and doesn't mention this particular activity of the timecode. What I want to know is what the blinking Alexa TC means. After I jam from the recorder it (it being the TC numbers/digits) stays solid for awhile, but then goes back to blinking again. This rec
  15. Greetings, I was working with a RED Scarlett today, the same one of which I've worked with a week ago with no problems, and had the audio return (monitor) go to very loud white noise. I lost jam sync as well, and it never returned. To begin, in the morning and prior to talent being on set, audio return from the camera was normal, and sync was green during camera set-up. Right before roll, the audio return goes to a very loud white noise. Audio levels on camera appear to bounce as they should, and playback of RED files has clean audio. The only change in the camera setup wa
  16. http://vimeo.com/71959025 With firmware 3.1 for the Tiny Lockit and the Lockit we added a few exceedingly powerful features. "Use your Lockit to send the camera time code to your recorder without the fear of wireless dropouts!" The new software integrates a TC transceiver mode to the units using the already existing ACN network hardware. So without additional equipment your Lockit is now a fully functional time code transmitter or receiver. Thanks to the internal generator running in the background, TC dropouts are a relic of the past. "No need to tune your Lockits with the rental o
  17. hello, our mixer is generating timecode from a fostex 824. jamming deneke boxes and slates twice a day. using a 702t as backup recorder. our video and audio seems to have a 75% out of sync rate, usually just between .25 and 1 frame. theoretically the deneke boxes should hold perfect sync though. any ideas what's going on here? we are syncing dailies with scratch, and slipping audio to match video timecode. wishing the slate clap would sync perfectly every time.
  18. Tri-Level Sync in a Bi-Level World by Dave Pincek, Vice President of Product Development The advent of HDTV has brought a number of new concepts and technologies with it. One of the concepts put into practice is tri-level sync. Tri-level sync solves some traditional problems found with bi-level sync. Although tri-level sync is preferable with the new television system, we still find ourselves interfacing to systems capable of handling only bi-level sync. Therefore, the need exists to convert from tri-level to bi-level sync on occasion. This Tech Corner will acquaint the reader with the ne
  19. I was posting just prior about importing from a AAF/OMF and the files were read-only so I fixed that issue (or I should say, you all helped me resolve that problem). Now I just realized that (after editing for awhile), the sync is drifting. What's bizarre about it is if I look at the video reference in Quicktime, within the inspector window, it says the frame rate is 23.98, playback also 23.98 So, I import it into protools, but protools claims it's true 24. The mixed down reference audio matches the video and stays in sync. However, when I import the AAF/OMF file, it claims it's
  20. Hi there, First post here. I'm about to start filming a contemporary dance film wich include a great part with sync playback where the dancing has to move along with the music. This is my first time doing this kind of production and I'm looking for some wisdom to reproduce an accurate master playback dupe (1h running time approx.) with timecode through my 788T SSD, or recording a reference guide track into the 788T from a CD player in order to make the syncronization possible in the editing room. The idea is to use the same master playback dupe for the shooting and editing as well. I wond
  21. Happy birthday to you! 20 years Lockit!! We celebrate this event with an extraordinary limited aluminum special edition and new accessories... A good 20 years ago Guenter Knon worked for the German candid camera TV show. After countless episodes he was getting tired of lining up the Nagras and cameras in the morning each and every day. So he and Chris Price sat down together and after one year and several prototypes the first ACL Lockit was born. In the following 20 years this fellow became more and more famous and reproductive. Thus it rapidly became the head of the well-known
  22. Hi All, Just for general interest, thought some of you may be interested in knowing that Pluraleyes 3.0 is available. Link and Video : http://www.redgiants...all/pluraleyes/ I've used the demo version of Pluraleyes 2.0 on a few hours worth of footage from 2 Canon DSLRs and a Tascam HD-P2. When shooting I had to ensure that I got good scratch audio levels on the cameras - probably best to feed the DSLRs a direct feed from a mixer rather than relying on the internal DSLR mic. All in all it worked well - a real time saver. I found it very interesting to have actually used Plurale
  23. Intro Hi guys, tuning into this awesome forum for some of the usual life-saving help. So I just finished production mixing for my second feature length movie. Landed doing the audio post which will be a first(except mix). A daunting task at the least, but living in the Dominican Republic, people dont really have a miriad of options, eventhough I am fairly inexperienced in the film world, I have been doing commercials and documentary work for over 7 years. Anyways I digress. While i was doing the production audio for this movie, I made it a point to have my recorder jammed from
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