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  1. Asking the pros: Even with timecode boxes that don't drift, can audio and video be out of sync by almost a frame when editing? If shooting at 24 fps that's 41 ms, way more than the ATSC recommendation of 15 ms for lagging video for example. Here's my reasoning: if a sound recorder starts just as the frame number changed and the camera starts rolling just before the frame upticks, the NLE will align the two clips (audio and video) right next to each other but they started almost a frame apart. (For simplicity in this example the two devices started on the same frame). What's the point for manufacturers to boast of boxes staying in sync by half a frame for a day long if you can be off by one frame right off the bat? Am I missing something? Thanks!
  2. Wisycom provides a new feature with the newest Firmware 2.0.0. After upgradeing there is a new option under TC SETUP where you can sync the transmitter over bluetooth to a Tentacle sync E. Great improvement on set. No need to look for the proprietaty sync cable for syncing. Just hit the Jam button.
  3. Here's what I have: Ambient Lockit 202CT and a Tascam DR-701D recorder. Here's what I want: I want a LTC audio signal that is drift free (relative to the wordclock) of the BWF in the DR-701D. Why I want this: I need to make an 8 hour continuous audio recording that can be easily(ish) synced in post to 5+ cameras that are all turning on and off at random. Each camera will record the LTC to an audio track. The duration of each video track will be so short that the difference between each cameras clock and the wordclock/LTC is sub frame. Plan A: If I took the tri-level sync and wordclock from the Lockit and had a magic box that could make SDI+audio, I could turn that into HDMI+audio and then feed that HDMI into the Tascam and the Tascam would sync its wordclock to the hdmi. I can take the LTC from the lockit and feed it to the Tascam as well and then I would have BWF's that were wordclock-locked to the Lockit and had the appropriate timecode in the bwf from the LTC. I don't know where to find this magic box cheap. Plan B: If I had a device that could take HDMI with embedded timecode from the Tascam and then burp out LTC, I could just let the Tascam be the master source of LTC + wordclock for itself. I don't know how to find this magic box either. I wish the Tascam just had an LTC out. Any ideas/hope?
  4. Watch Full Video or read companion article at: https://henrirapp.com/sync-for-video-production/
  5. How reliable are the timecode generators for Tentacle Syncs? Would it be safe to use in a multi-camera setup if three cameras are hardwired to mixer generating timecode while the fourth camera is using a jammed Tentacle Sync? Thanks for any insight and help.
  6. 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: http://wp.me/p2Vzd6-fk at www.soundrolling.com If you want the newest cameras including Amira and Sony F7 then get the offline PDF version that you can use offline : http://soundrolling.com/sound-products/camera-timecode-tutorials/ Arri Alexa (and all versions of it like Alexa XT.. isn't that nice of them!) see on http://wp.me/p2Vzd6-fk RED Scarlet / RED Epic / RED Epic Dragon see on http://wp.me/p2Vzd6-fk 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: http://wp.me/p2Vzd6-fk Thanks
  7. I just got a used :wave, but I'm having a hell of a time operating it as the master in an RF network. My other Timecode Systems devices (2 Ultrasync Ones) are configured as RF slaves on the correct RF channel, but they don't connect to the network unless I hold them within an inch of the :wave. Any further than that and they lose the RF connection. I have updated the firmware on all devices and reconfigured everything several times, to no avail. Has anyone else had an issue like this? (I'm hoping it's fixable with a new antenna or something.)
  8. We are excited to announce our newest timecode generator the X2 at just $199. Highlights *Locking BNC for secure connection *Up to 30 hour battery life *Industry standard NP50 battery *Tiny & Lightweight at just 1.9 ounces & 3.46 cubic inches *User Replaceable Battery for emergencies in the field *Commonly used barrel charger for easily obtainable accessories *Durable design and build *Same Mozegear TC design that is accurate to 1 frame in 24 hours *Wired in connectors for increased reliability *Ability to daisy chain charge so only 1 wall outlet needed *Recessed on/off switch *1/4-20 mounting hole for secure camera mounting *Quick, easy, and intuitive set up *Made & Serviced in the USA $199 Kit includes: X2 Timecode Generator NP50 Battery Wall Charger
  9. I have been running around with the Zoom F4, and it's cool how much it does for the price point. Has anyone had some major issues with it out of the box? I'm a whole number behind with the firmware, but didn't read any of my issues in the known issues literature for the updates. A big one is getting the wrong channel PFL like it's bleeding through or routed improperly. But there is no way to re-route it the way it was working. Two tracks also shows up as a stereo track in Premiere even though they are both centered and should be recording polyphonic files. If I arm a third track that is blank it shows up properly as a three track poly. Anyway... that's not why I'm posting. With cameras I'm used to the free-run timecode mode to run for days on end even when powered on and off. The F4 resets the timecode to zero every time it's powered on. I usually jam with the camera once a day, which should be plenty. But I'll either have to let the F4 run all day or jam every time I power off. Am I missing a way around this--is there a way to have the timecode run even when powered off?
  10. I have read the TS-C manual a million times. For some reason I'm just not understanding how to change the clap hold so that it will display the timecode, and not the date. Can someone explain how to change the clap hold, and also if there is supplemental help to understanding the TS-C other than Denecke's manual? Update: I've been informed that this can only be changed on my mixer side of things. When I head to my Time Code Jam pressing the TC key twice, and then I select jam date and jam time, then I sync my slate, it will hold time code only after the clap. That's what I want my slate to be most of the time. But let's say I wanted to go back to displaying the time code, then the date, how would I do that? What am I missing? Thank you for the help so far.
  11. Would an absolute timecode based on UTC time be a viable option? Using UTC (Universal Time Coordinated, the worldwide used date/time of day reference) as absolute timecode would allow to operate any device totally independently anywhere in the world while keeping a very precise uniform timecode. With a GNSS-disciplined precision oscillator it would be possible to keep absolute time sync better than +/- 3 milliseconds per day even if the GPS/GLONASS/... satellite signal is lost. With automatic GNSS resync a precision better than +/- 1 ms is easily possible. The drift without any GNSS signal to resync until 1 frame is reached would correspond to about 2 weeks. Effective precision depends on the used hardware, figures are based on relatively inexpensive commonly available components but higher precisions are possible (for example GSM networks are synchronized with sub-microsecond precision relying on GNSS time references). With an absolute UTC-based timecode each device could manage its timestamps entirely autonomously. I'd be interested to know if such system could be used as technically it wouldn't be very complex to implement.
  12. Hello Community, I hope this is the right place to ask this. I have run into a bit of a problem with one of my recent projects, due a rookie mistake on my part. I recorded the location sound for a 30 minute short film on a Zoom H6. Since this recorder has no built in Time-code functionalities I recorded the time-code from a Tiny Lockit onto one of the channels as LTC, syncing with the camera every few hours. The Tiny Lockit was set to 25 fps. The camera however was recording in 24 fps. Now I am wondering: is there anyway to convert the LTC audio files to 24 fps somehow? Can this be done once the timecode is added to a BWF? Or will post-production have to manually position the audio using the slate? Thanks, Stefan
  13. Hi, all. After starting a new show I have been getting feedback from post that the TC is not being consistent. I have put lockit box and tentacle synch on the cameras and that seemed to fix the problem. I had a look at the software update page in Zaxcom just to make sure I was running the up to date software and I saw that I had v7.57t and the latest was 7.56 I updated the software to the recommended version and now it seems to be worse than before with TC being more of an issue than before. I have searched for the 7.57t version and I couldn't see it anywhere. I'm pretty sure it was that version.... I'm jamming the boxes more often and hopefully that will do the trick. Thanks everyone.
  14. Dear Ambient friends, today we proudly introduce to you our latest development – the NanoLockit! Visit http://www.nanolockit.com 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
  15. 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?
  16. 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.
  17. 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
  18. New timecode slate preorder is now up on our site http://fuzeti.com/mre-timecode-generator-slate.html 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.
  19. 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?
  20. 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.
  21. 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.
  22. 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?
  23. 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: http://www.bhphotovideo.com/spanish/c/product/423968-REG/Sound_Devices_XL_LB2_XL_LB2_31_LEMO_5.html/?gclid=CLGq9f3QmMwCFVAvgQodMWEDnw http://www.bhphotovideo.com/spanish/c/product/1021813-REG/laird_digital_cinema_sd_tcd2_01_lemo_5_pin_to_bnc.html thanks a lot
  24. 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?
  25. 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: http://eepurl.com/bMtgIT or just download Firmware 4.01 on www.ambient.de/en/downloads Kindly Timo
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