Chadwick, you've given us another amazingly useful tutorial! I will need to view this video a couple more times, but you've shared some very important tips regarding "jam synch", but just as important-- how DaVinci Resolve nests the audio in Multi-cam mode. Thank you, thank you, thank you!
Glad it was helpful Keith. Yeah that nested adaptive audio in multicam is always a bit tricky to work with so I'm glad you are finding that part useful. I hope this is something they simplify in the next version of Resolve. As always, I appreciate your support and comments.
6:13 you mention the mix pre 3. How did you handle the timecode setup there? You forgot to mention that. Is it having a LTC track or do you use the HDMI input in any way? Apart from that, a huge thanks for being so generous to share this with the community. It is a brilliant way to show how much more productive we can be in da Vinci than we already are. You rock!
Thank you for your video, but wow, that looks like a very large amount of work arounds and adjustments to get to usable data. Have you tried the tentacle software to sync prior to importing, or has BM improved the workflow since your tutorial?
Hi Ben, workflow hasn't changed since I released this but you might be getting hung up on the last half that deals more with editing individual audio channels. I really wish this would simplify but it's not always a necessary step for everyone. Regarding the timecode sync, it doesn't get much easier than this. I am currently testing the new Deity system and will follow up with a video on it since it has some nice benefits that tentacle doesn't have. I haven't used the tentacle software but if you use Resolve there really is no need for it.
Chadwick, How do you update time code from audio for multiple audio files? I am using a Zoom H4n. I connected the tentacle sync to the ext. mic input and recorded the jam sync on a mic channel and then recorded audio on an xlr channel. It outputs multiple audio files. First Since the files are separate I would assume I need to merge them to a single left right track (composite track) but then I am not sure how to update time code. That field is not available for audio track. Any help would be appreciated.
I'm mostly making videos in a blacksmith shop and currently record audio from a lav mic to either a camera via wireless or a separate recorder. I then use a shotgun mic on a second camera to capture the ambient shop sounds as I work. (the lav mic pics up too much heavy breathing) Is there a way to record audio from a wireless system or shotgun mic to the camera while using the Sync E?
Yes, but on if your camera has 4 channels of inputs (my FX3 does, or any camera that has like 2 xls ports and a stereo mini etc.) The reason is the sync E uses 1 channel for timecode and one channel for scratch audio. The idea then for most 2 channel cameras is that you would then timecode sync those to an external recorder that also has a sync E and has both of your mics plugged into the external recorder.
great video but why u would want to use all those tracks, instead of just the master audio track once its synced. im confused on the extra steps of bring all that audio in...
Thanks Ted - having all the tracks let’s you as an editor decide which microphone to use and if different peoples mics, you can mute one while the other person talks and go back and forth. This cleans up your overall mix drastically.
Been in the videography and marketing scene for roughly 23 years. This is the most clear, detailed, and simple video I have seen about the topic. Zero "Bro" and 100% informative. Thank you.
One of the best tutorials and still it is too overwhelming and difficult to remember each step.Davinci needs to make it better especially audio separation and stuff
This was incredibly helpful. Not the tentacle part but getting those recorder tracks with multiple channels from set was confusing to work with and I definitely exported bad audio to a couple clients as a result lol.
This doesn't show how you put the sync with the GOOD audio? I get the 3 cameras are sync'd but how is that now syncing with your audio recorder/good audio??
Ah I love the tentacle sync.... I don't own them but I love them and they are my next investment. Just done a video on timecode myself using a free app but would love me some tentacle syncs
@@CreativeVideoTips its called LTC timecode generator, I have been using it as a visual and audio que for the cameras stopping the frame and setting the time code. Works really well, the vid is on my channel, it's the last vid I done
Thanks. Been looking for a work around for multiple audio channels in groups. Still think BM could work to make multicam audio just be all the channels instead of stereo mix by default. Or at least the option to do so easily
You're very welcome. I know what you mean - I think this should be a priority item for them to improve on the next version. I have never found a great use for adaptive tracks. Thanks for watching!
Great video. I'm considering adding timecode to my multi angle (3-6 camera) music recording setup. But until I can afford 4 separate boxes I'm thinking of using just 1 with an active audio splitter and just running wires to each camera. Would there be any issues with that? I think I may even have an old MOTU interface with an LTC out (an 828 or an MTP/AV). I've been binge watching your content, great stuff.
That's a great idea! I love the way you think Steve. One thing to think about is the output has one channel that is the audio timecode and the other is the scratch audio track from the built in mic. I'm also testing the deity system this month which has a nice advantage that it's a little cheaper and has an OSD. Let me know how it works if you try this. One thing to think if you're sending audio with a teacher anyways, then you could also just sync by waveforms. But I like where your heads at and timecode syncing is always ideal. Cheers!
@@CreativeVideoTips Thanks for the feedback. I saw the Deity's this morning, they look very cool and are a little less $ esp considering the Tentacle software is unnecessary for Resolve users. I do like how both boxes have a mic for the other channel for reference. I used to sell high end audio equipment so I know everything about timecode and sync references in post workflows but I never realized that camera TC generators didnt need to be interconnected. I guess if drift is 1 frame in 24hrs they dont need to see each other. It's different when you need subframe accuracy or digital audio sync. Waveform sync is working okay for me but sometimes I need to nudge things in subframes. I have a cheap ext mic on every main angle to make sure they get decent audio. But I'm looking for anything to make post faster and it was really magical to see how fast multicam was with LTC. It would also help with ordering all the subfiles from long recordings that go over the 4gb limits.
Hey @CreativeVideoTips Chadwick - this was previously one of my most referenced videos, but I came back to it and realized lots of things have changed since this was made. Is there any chance you could please update this or release a new version? Love my tentacles and how they perform. I've recently updated to a new f6, and have recently added a new A cam (R6 Mark II). I would sincerely appreciate an update to this because I use these techniques.
Fantastic tutorial…fits a crucial gap for modern Resolve (v17+). Note: I set the A7S3 to 24 fps and the Tentacle syncs to 24, not realizing that the A7S3 , 24 actually means 23.98 . Also if you. Use Mix Pre as the master TC source, it doesn’t burn LTC? Trying to get my head around that
Thanks for watching, yeah on the sony's 24 is really 23.98. On blackmagic you have both 23.98 and 24. You don't want to use the Mix Pre as a master TC source until it's the Mix Pre 10. If you have a 3, or 6, you need to feed it a tentacle sync e too. This will convert in the device to metadata tc for the audio.
Great little thing to have but definitely, everything they sell is overpriced. Two cheap plastic devices made in china for 350? That’s a PlayStation 5! Plus cables, software and other accessories it can mark up to over 600. Cheap alternatives are sorely needed.
I'm with you in hoping for a less expensive option. There is the Deity TC-1, which I would actually suggest over this kit now. However, they crystal clock that is inside these is actually the expensive part. I don't know what the margins are but that is what is keeping them at their current prices. It's also why companies like Panasonic, that I spoke with won't put them inside of any of their cameras.
Nice video, clear and comprehensive, as usual from you (me great fan!) - but works only with recorders with dedicated timecode channels When you do have an audio recorder without a dedicated timecode channel (metadata) you have to take a few extra steps. I.e.Zoom H5, Tascam DR-44 WL or Zoom F3 are recorders having no extra channel for timecode metadata. So, the core problem is that these SW (daVinci, Premiere and Final Cut) are video cut SW and in the end an audio recording ain't a video clip. (Remark: I dislike when they always try to blame daVinci Resolve, only. As per my knowledge this is a known shortcoming of all (!) video cut software daVinci or Final Cut - and Premiere Pro ain't an exception, neither.) With these smaller recorders you have to use one of the audio channels for capturing the timecode. Zoom H5 or Tascam DR44 have 4 channels (or i.e. Zoom F3 has 6). So, you have to "abuse" one of the audio channels (preferably for recording the timecode. Usually, these recorders produce one file for stereo channel 1+2 and seperate files for channel 3 and 4. All 3 "channel-files" (1+2, 3 and 4) are absolutely in sync and have exact the same length. Basically, we have to produce a video clip with the audio recording. How to achieve this? Step 1: create an audio track and load audio recording (ch 3 or 4, depending where you 've recorded the timecode) Step 2: create a video track and load a photo (any photo or even a empty title will do it) Step 3: adjust the photo to the length of the audio track (begin and end) Step 4: render the thing as - let's call it - a "Helper Clip". (since we are digital, you won't loose audio information). The remaining audio recording (stereo ch 1+2) do have the same length as our newly produced "Helper Clip". Step 5: read in your (multi cam) video clips (as you pointed out in your video - incl. the "Helper Clip") Step 6: read in the audio stereo file (ch 1+2) at the start of the Helper Clip (should have exactly the same length like the "Helper Clip"). Step 7: mute the audio track from the "Helper Clip" Admitted, some extra steps - but, for an INDE it might be a temporary solution until one can afford a recorder with dedicated timecode. p.s.: I've suggested this process to daVinci Support - but, they did not come back on this. Anyway, would be cool to have a macro/plugin doing this automatically, wouldn't it?
So once you "bake" in the timecode, (which I assume is just pulled from one of the channels) You can then retrieve, then sych? So you don't need to use the Tentacle sync software then. Correct?
Absolutely - that's one of the unique joys of Resolve. No need for the tentacle software when you edit with LTC timecode in Resolve or Avid. The tentacle software is good, but it's an extra step that's not required.
Chadwick, I love this video... I've watched it half a dozen times and keeping getting more out of it everytime. Your generosity of knowledge is greatly appreciated. I hope the move to NYC has gone smoothly. Thanks once again for helping make me a better video editor.
Hey, thanks so much! Your kind words are not taken lightly, and it means the world to me the tutorials are helping. It has been a big transition for us since moving, but I have over 40 new videos outlined and some partially shot to start releasing soon all around Resolve. Stay tuned! I even have a new one on with more advanced timecode tricks coming with a few tricks I didn't know when I did this tentacle video.
Do you also have an option to sync audio to clips that are already in the timeline ? When you do DIT work at movie set you get the video footage at a different time than audio. Workflow would be grading the video footage when you get it and add the audio later when you get it at lunch break or when the day is over. Is there and Option for that ?
Yep, I totally get that. I remember always waiting at the end of shoot days to have the mixer copy his files for the DIT. And yes, in the timeline if you select one audio clip with one video clip you can right click and say auto align clips based on waveform or timecode. You can them link them together with command option L. Just know they are only linked on the timeline, not like a merged clip.
@@CreativeVideoTips Yes but that only works if the clip in the timeline already has audio. If you work on a movie set having Alexa or Red camereas. These cameras usually don´t record audio. And no operator wants an extra micro attached to his camera. All you have is timecode. And you begin the QC and pregrading once you get the video footage. Sound comes at lunch and at the end of the day. Can´t wait so long with QC and grading and I don´t want to redo the stuff. Woraround is also possible but super complicated.
at 8:43, I dont have half the options you have when I right click a file, and I do not have "update timecode from audio track" is that something that requires the full paid version of resolve?
Holy Crap. What you call the "Sync the Daillies" workflow is exactly what I've been dying to do but could never figure out nor find from a Google Search. Thank you!!! Any chance there's a way to "Update Timecode for Audiotrack" from a audio file? (I'm recording a Tentacle to one channel of a non-timecode recorder, then actual audio to another) This would save a trip to the dedicated Tentacle App. Either way, Thanks a bunch! You've given me the final key to my workflow I've been missing.
wow So much I didn't know about Davinci I just learned in 20 Mins. Since I have a couple Z9's and a Z6ii with Atomos Ninja im going with the Atomos Ultra Sync Blues for Timecode. Im very new to this category and actually only been shooting Video for about a year (Primarily a Photographer) but you broke down many questions I had about Timecode very easy. Thanks!!
Thank you for such a good video which is the best on you tube if you are working with tentacles. For me everything works except the "flatten multicam" part 'cause in 18.6 there's two options and if you select any the video just disapair :(
OMFG!!! My poor head is spinning, but dang it I'm gonna put final cut on hold, and give Davinci a go. And yes I 100000% agree doing the clap thing to sync audio blows.
Thank you for breaking this down so perfectly. I'm a director trying to finish a commercial and you just launched me into being able to finish it :). Cheers.
Why don't/can't Camera Manufactures add a simple clock as in all cell phones that is accurate to say 1/10th of a second imprinted on all Digital Files created by Cell phones to the most expensive Video cameras. This would Permit Auto syncing of any video footage. Hell Date, Time and GPS location are imprinted on most Still photos today. Besides aren't Date & Time of creation (Embedded) in the first frame in the metadata of each clip? Of Course then there wouldn't be any need for expensive add ons. Sorry Bro.
Thanks man, useful info. I bought an Atomos Ninja 7 mainly because my Sonny a6000 can't shoot for very long (mainly doing location classical music productions). Thinking of gradually transiting to Video Cameras (not photo cameras that do video) plus having some Photo cameras for when I need more than 4 camera angels at the same time.So, looking at the Tentancle Sync System and I was wondering if the Atomos is still relevant and useful or if I should sell it and get another monitor + Tentancle boxes. Thanks!
Question: I have 3 of 4 items synced perfectly. My Blackmagic 6K (+Sync E), Tentacle Track E, Zoom F6 (+Sync E) all take in the time code metadata, but my Sony A1 I have a Tentacle Sync E constantly plugged in and it's recording "audio timecode". So when I drop it in, everything syncs up immediately except for the Sony. Expected. I did what you suggested using "Update Timecode from Audio Track" and everything synced! My only problem is in my footage I'm holding up the Tentacle "Timebar" app which basically is a digital slate. I noticed that the Sony is off by 2 frames. Is there something I can do to fix this?
I think that is an excellent idea. When you are looking at audio recorders - look for devices that accept timecode this way they will convert in camera to metadata timecode like the sound devices mix pre 3 in this tutorial. Thanks for watching!
Hello there, thank you for all the content you create this is really helpful. Do you know, or someone in the comment section, if it's possible to run with your camera while using the Tentacle Sync with an Atomos's device like the Ninja V?
Not sure if I missed it or not, and I am pretty sure I know what to do. But you showed all the cameras having the timecode on the left and scratch on the right. Didn't see how the main audio got the timecode. Lots of cool techniques in there. Not sure why every wedding or event videographer isn't using the tentacle system? I guess it's been awhile since I saw a demo of it. I thought that it involved syncing in an app, and exporting .xml - This new method is so much better and easier. Thanks for the info Chadwick
Hey Jim, you didn't miss it - I accidentally cut that part out. The main audio received the tentacle timecode and converted in the sound devices recorder itself to metadata timecode (kind of like a blackmagic camera does). So there is no need to do anything with that in Resolve. I think I have read in some places that you can't convert audio only files LTC timecode to metadata timecode in Resolve but didn't have anything to test with since we've always run with the sound devices boxes.
@@CreativeVideoTips Hi Chadwick great video! One question: as soon as you click on update timecode from audio track the first video of fx and a7 change to something around 9:51. What I don't get is why the first audio track from mixpre says 9:48 and the videos are starting from 9:51. Do they sync anyway without problem? Thank you!
So just to be clear, when using Tentacle with DR you don't need to first run the clips thru the TENTACLE SYNC STUDIO software - all the syncing can happen natively in DR, right?
Hello, thank you for the video, it all works great, only my audio channels get grouped into one channel. I can still see the individual channels but i cannot seem to edit them individually. In the synch fast video from a fellow youtuber there is a very lengthy explanation how to get them into individual channels again but somehow I don't get it to work. I would very much appreciate an answer.
When you update the timecode metadata ,you're clicking 'update timecode from audio track' however what if the Sync E is connected using the flash sync port in the case of the Panasonic S1H? Is this step still needed and if so will that work as the sync port is not an audio track
Hey dude I have a quick question for you. First, thank you for the videos. They are super helpful. Second, I followed this video to the letter and my Zoom F6 isn't syncing up with the video in DaVinci. All 3 camera angles sync up and I can see all of the timecode and metadata on the Zoom but it puts the Zoom's audio file before the sync'd up video after opening the multicam in the timeline. I know everything is set up right as the camera's are syncing but am I missing something on the Zoom or in Davinci?
I’m using wireless go2 for sports and sometimes the audio cuts in and out and I have to try and sync the internal recording. Now that plural eyes is gone it’s been harder. Anyway I can use tentacle sync in this situation I don’t roll the camera all day just few plays
Near the end of the video, after you have synced the dailies, you jump to the source tape to mark in/out points to append into the timeline. When I do this, the sync bin is using the old audio of the clip, not the newly synced audio. But once the clip is in the timeline, it uses the new audio. In the video here, I can't tell if yours is also doing this because you have the audio off. Is there a way in the sync bin to use the newly synced audio while selecting clips?
Hi at the 8:28 segment you update the time code using the audio track, as the Tentacle puts the time code on the audio track when you go into the mic input. On the URSA 12k you get a TC in via a BNC connector. I used that instead of the xlr mic input because that is a weird adaptior (xlr male to 3.5mm male) The TC IN does not put a sync sound on the audio track, it looks like it just puts the TC numbers in the metadata. How do you update TC without the sync sound on the audio track? Thanks!
Hi Mark - this is such a good question and misconception with the Blackmagic cameras. With Blackmagic or any other camera that has a real timecode input - you do not need to do anything with updating timecode from audio track like demonstrated at 8:28. Your metadata tc should already be correct over your bnc connector.
It's such a simple add on to all audio and video recorders when manufactured a sync with WWV Corrifnsted time. All so called ATOMIC watches have the capability. Depending on accuracy needed it can sync to a Millionth of a second or finer. The actual world wide time at the start of every frame for video and some time interval for audio.Eventually every recording in the world would would have embedder Universal Coordinated time stamp.
I sure wish we were there now with having good clocks built in like you mention. When you think about it, it's kind of funny how we don't have it seeing how much tech advancements we have in other areas of filmmaking. I guess it must still be seen as a fringe type of feature.
@@CreativeVideoTips that's awesome dude. I don't understand why they only sell one unit and two units of tentacles on line? How about if I need four tentacles? Can I still match those other two extra units without hassle. Sorry I'm starter for all of this. Thank you so much for your answer. I appreciate you for educating me.
Holy Cow! FIguring out how to break out the multicam audio into individual tracks is an Emmy worthy tip. I mean, how in the world did you figure that out? I found the link to this video in a BMD Forum but it seems like this deep level app functionality should be so much more accessible. Especially considering this is pro level work flow stuff that would drive an editor crazy as you try to work with professional audio post mixers and other collaborators. Seriously worth a sub by far! Excellent production yourself for a simple project like a youtube video tip here. Thanks. This is one of the final steps in finishing a feature film I've been editing / directing and it is soooooo helpful. Excited to find this channel!
Hi Danor, I'm so glad you found this crazy work around and the channel. Yes, I can tell you I pulled my few hairs out trying to understand the best way to get back to the original tracks. It is kind of silly so I'm hoping they consider rewriting this section of the edit page in a future Resolve release. My guess is they are working on so many things that this was just overlooked. Please keep in touch, I'd love to see the film or the trailer for it when it's done.
Cheap is kind of relative I think in film gear but you’re right it’s no tiny amount of cash. I didn’t mention the price because that can always change and I’m more interested in showing the value of the tool and workflow. However to my knowledge this is the least expensive way to jam multiple cameras together. A great editing system is key too, but I can tell you many times I’ve been stuck matching up lip smacks and weird visual environmental cues to sync manually where no fancy computer would have helped at all.
@@CreativeVideoTips And to add to this, it can be helpful to think of budgets as percentages both in terms of time and money. In a small scale project with e.g. two or three cameras with audio recorded directly to the cameras, timecode makes little sense in time savings as syncing audio and cameras in this case is extremely simple and fast (granted you pay attention when shooting). Smaller budgets might also mean less takes in total. If the budget is in the range of 5 cameras and multiple audio channels / recorders starting and stopping sporadically, manual syncing can be nearly impossible without timecode, so the time benefit is pretty much infinite. In addition, this solution would be peanuts in a >20000 €/$ environment.
Thanks, - now this is kind of a worse case scenario and in my latest multicam video on the speed editor I try to simplify the linking unlinking process - but YES, I sure hope blackmagic makes this easier in the future.
Your info on unlinking tracks from an external audio recorder is fantastic. I've been wrestling with that for a while. Thanks for sharing that solution.
I've been learning, and re-learning, a lot from you (with new knowledge on what I thought I knew). I've been on your playlist binge. :D Thank you for an amazing resource for Da Vinci Resolve.
Hopefully this has better range than the Bluetooth apps paired with BMD cameras that can achieve the same result. I can’t use those when filming performances become they drop out camera control if I’m at anything but the smallest venues. Also: “I need an NLE with zero sync issues when editing”, Me: “have you considered a career in botany?”
Hi Michael - from my experience you need to be within 5-10 feet for this to work when syncing, but after that you are good to go the rest of the day (maybe sync once at lunch). Since they're are hard plugged in its just during the sync that the bluetooth matters. There is also an option to sync them with the cable without bluetooth. I just didn't show this method in the tutorial.
This is so cool Chadwick, I use two 32 bit Tenticale recorders currently. Could I use JAM Sync on NON pro cameras ? I only have a Canon M50 and DJI pocket 2 and perhaps Android when i add that to the mix? What you just showed would save so much time when sync on waveform fails. Great video !
Oh yeah those track e recorders you have are compatible with the sync e from this video I believe. The 2 things you need are a mic input and then also the ability to record the same frame rate. So just make sure they can all record the exact same framerate. Meaning 24 does not equal 23.98
Tried numerous codecs and different containers with LTC signal on the left channel.Still no acurate read out. Could you maybe share a short 5 second sample clip with Burn-in timecode so i can test? Thx for any help!!!
Chadwick,.....nevermind i found the fix.....maybe a duh moment signal was to low for resolve to get accurate read out. The reason why i was blinded ...a had another program that readed the files just perfect !!! so that's why i was mislead.
yes, but the way I would do that is right click on clips in the media pool - "insert to timeline using timecode", for each new camera angle, patch the orange destination box up 1 video track and repeat. After they are laid, out remove the big extra space at the start of the timeline and right click to the timeline to convert into a multicam clip
Can Premiere do this??? I want to sync clips and audio without creating a multicam clip. I want to be able to grab clips as needed with all of the sync audio tracks.
Yes and no. Both premiere and Final Cut can't convert audio timecode to metadata timecode - but there are 3rd party paid tools that can do this - I just haven't used them. Only Avid and Resolve can natively take audio timecode and make use of it. However, Premiere can sync by using the audio waveforms - either as a Multicam or merging the good sound on a clip by clip basis.
Topic idea: can you go over the new Flexbus system in resolve? You have a superb teaching style and I can tell you research each video well to deliver dense info. Thank you!
Great suggestion! This hasn't been covered very much from what I can tell and it's a pretty cool feature. It's not something I use very much yet, but happy to try to dive in more and share what I learn. Thanks!
@@CreativeVideoTips Things to explore would be: How to understand the flow of the signals (sending tracks to buses, buses to buses, and buses to tracks) How to create Submixes (sending one or more tracks that belong to the same category, such as dialogue, to a single channel) that can be controlled with a single fader and or dynamics processing. How to send a Submix signal to another channel for use in Sidechain compression so that a music bus or track can interact with a dialogue track/submix
Very good work man, thanks for info. Really appreciated it! Question: when Syncing a Multicam and and Cutting one take (such as interviews) .... then all is good. But how would you approach the same things for something like a music video, in which case you have 3cameras angle (A,B,C) but you are recording with a click track/music track and then if you do 4 takes you end up having 12video tracks that need to be synced (3camera angles per take) ...yet label them in a way that the director can refer to the individual videos as Take1-CamA, Take2-CamB and so forth. Sync Based on waveform does work well - but there is always that one video that will not and it's hard to figure out what's going on. kind of a loaded question. Thanks in advance!
After researching all the related muticam issues in terms of the audio track in Davinci Resolve in days, including Blackmagic forums, I finally found the solution here! Especially at 12'56"! I love you ! THANKS! Your other tutorials are great as well!
There is no such thing as smpte timecode for 60 fps, so you really can't use timecode for this purpose. If sync matter on the slow mo and you could record sound, I would sync them by the waveforms.
Chadwick, I've been watching your videos for several months now. Turn 70 next March and am just starting my Tuber gig. Named the channel Boomer Bloc. Keep em coming, bubba.
Great tutorial! Thanks for making these wonderful resources. Do you have a suggested workflow for synchronising clips when some of the clips don't (or can't) use Timecode, like clips from an old GoPro for action footage while the rest of the clips do use timecode? Can you do a stepped sync process, perhaps first doing the sync using Timecode for the majority of the clips, then using the synced clip plus the GoPro clips using Audio Waveform to complete the process?
Hi Chadwick, thank you for the nice tutorial! I have a question for fps setting. So I got video in 29.97fps(set in 30,but dropped?), audio file in 25fps but ZOOM F6 can set timecode fuction in 29.97ND, should I set Tentacle's timecode in 29.97(DF)?
Thanks for this video. Looking because I have just got a MixPre 6 and have a Tentacle Sync E set arriving tomorrow. This answers all my questions and helps so much. It explains everything I needed to know. Once I got bit by some bad audio tracks - I am sold on having the MixPre record everything.
00:00 - How to Sync Faster in DaVinci Resolve
01:07 - Jam Synced Timecode Defined
01:46 - When to use Timecode?
03:15 - Tentacle Sync E Setup
06:03 - DaVinci Resolve Tutorial
06:44 - Assign Camera Number Metadata
07:26 - Show Timecode Window
08:28 - Update Timecode from Audio Track
09:03 - Multicam Sync Map
09:52 - Fix Multicam Adaptive Tracks
11:55 - Flatten Multicam Clip
12:55 - Edit Adaptive Tracks Individually
14:46 - Editing Multicam
15:18 - Sync the Dailies
16:20 - Sync Bin Editing
Chadwick, you've given us another amazingly useful tutorial! I will need to view this video a couple more times, but you've shared some very important tips regarding "jam synch", but just as important-- how DaVinci Resolve nests the audio in Multi-cam mode. Thank you, thank you, thank you!
Glad it was helpful Keith. Yeah that nested adaptive audio in multicam is always a bit tricky to work with so I'm glad you are finding that part useful. I hope this is something they simplify in the next version of Resolve.
As always, I appreciate your support and comments.
6:13 you mention the mix pre 3. How did you handle the timecode setup there? You forgot to mention that. Is it having a LTC track or do you use the HDMI input in any way? Apart from that, a huge thanks for being so generous to share this with the community. It is a brilliant way to show how much more productive we can be in da Vinci than we already are. You rock!
Thank you for your video, but wow, that looks like a very large amount of work arounds and adjustments to get to usable data. Have you tried the tentacle software to sync prior to importing, or has BM improved the workflow since your tutorial?
Hi Ben, workflow hasn't changed since I released this but you might be getting hung up on the last half that deals more with editing individual audio channels. I really wish this would simplify but it's not always a necessary step for everyone.
Regarding the timecode sync, it doesn't get much easier than this. I am currently testing the new Deity system and will follow up with a video on it since it has some nice benefits that tentacle doesn't have. I haven't used the tentacle software but if you use Resolve there really is no need for it.
Chadwick,
How do you update time code from audio for multiple audio files? I am using a Zoom H4n. I connected the tentacle sync to the ext. mic input and recorded the jam sync on a mic channel and then recorded audio on an xlr channel. It outputs multiple audio files. First Since the files are separate I would assume I need to merge them to a single left right track (composite track) but then I am not sure how to update time code. That field is not available for audio track. Any help would be appreciated.
I'm mostly making videos in a blacksmith shop and currently record audio from a lav mic to either a camera via wireless or a separate recorder. I then use a shotgun mic on a second camera to capture the ambient shop sounds as I work. (the lav mic pics up too much heavy breathing) Is there a way to record audio from a wireless system or shotgun mic to the camera while using the Sync E?
Yes, but on if your camera has 4 channels of inputs (my FX3 does, or any camera that has like 2 xls ports and a stereo mini etc.) The reason is the sync E uses 1 channel for timecode and one channel for scratch audio. The idea then for most 2 channel cameras is that you would then timecode sync those to an external recorder that also has a sync E and has both of your mics plugged into the external recorder.
great video but why u would want to use all those tracks, instead of just the master audio track once its synced. im confused on the extra steps of bring all that audio in...
Thanks Ted - having all the tracks let’s you as an editor decide which microphone to use and if different peoples mics, you can mute one while the other person talks and go back and forth.
This cleans up your overall mix drastically.
Been in the videography and marketing scene for roughly 23 years. This is the most clear, detailed, and simple video I have seen about the topic. Zero "Bro" and 100% informative.
Thank you.
leraned a lot from this video class. Thank you for sharing it.
You're very welcome!
One of the best tutorials and still it is too overwhelming and difficult to remember each step.Davinci needs to make it better especially audio separation and stuff
This was incredibly helpful. Not the tentacle part but getting those recorder tracks with multiple channels from set was confusing to work with and I definitely exported bad audio to a couple clients as a result lol.
It's not giving me the option to update timecode from audio track
DUDE! DUDE! DUDE! I am screaming all the way from TN. You are the MAN- Your experience is Over The Top. Thank You for sharing.
This doesn't show how you put the sync with the GOOD audio? I get the 3 cameras are sync'd but how is that now syncing with your audio recorder/good audio??
Ah I love the tentacle sync.... I don't own them but I love them and they are my next investment.
Just done a video on timecode myself using a free app but would love me some tentacle syncs
They have been really helpful for sure. I'm curious what is the app? I'm super into anything about timecode lately and would love to check it out.
@@CreativeVideoTips its called LTC timecode generator, I have been using it as a visual and audio que for the cameras stopping the frame and setting the time code.
Works really well, the vid is on my channel, it's the last vid I done
Thanks. Been looking for a work around for multiple audio channels in groups.
Still think BM could work to make multicam audio just be all the channels instead of stereo mix by default. Or at least the option to do so easily
You're very welcome. I know what you mean - I think this should be a priority item for them to improve on the next version. I have never found a great use for adaptive tracks. Thanks for watching!
Hello There! What if you have only one camera and mutliple audiorecorders?
Hi Max, that's an interesting thought. I have never tested using multiple audio recorders but I suppose it would also work.
Great video. I'm considering adding timecode to my multi angle (3-6 camera) music recording setup. But until I can afford 4 separate boxes I'm thinking of using just 1 with an active audio splitter and just running wires to each camera. Would there be any issues with that? I think I may even have an old MOTU interface with an LTC out (an 828 or an MTP/AV).
I've been binge watching your content, great stuff.
That's a great idea! I love the way you think Steve. One thing to think about is the output has one channel that is the audio timecode and the other is the scratch audio track from the built in mic.
I'm also testing the deity system this month which has a nice advantage that it's a little cheaper and has an OSD. Let me know how it works if you try this.
One thing to think if you're sending audio with a teacher anyways, then you could also just sync by waveforms. But I like where your heads at and timecode syncing is always ideal. Cheers!
@@CreativeVideoTips Thanks for the feedback. I saw the Deity's this morning, they look very cool and are a little less $ esp considering the Tentacle software is unnecessary for Resolve users. I do like how both boxes have a mic for the other channel for reference.
I used to sell high end audio equipment so I know everything about timecode and sync references in post workflows but I never realized that camera TC generators didnt need to be interconnected. I guess if drift is 1 frame in 24hrs they dont need to see each other. It's different when you need subframe accuracy or digital audio sync.
Waveform sync is working okay for me but sometimes I need to nudge things in subframes. I have a cheap ext mic on every main angle to make sure they get decent audio. But I'm looking for anything to make post faster and it was really magical to see how fast multicam was with LTC. It would also help with ordering all the subfiles from long recordings that go over the 4gb limits.
Hey @CreativeVideoTips Chadwick - this was previously one of my most referenced videos, but I came back to it and realized lots of things have changed since this was made. Is there any chance you could please update this or release a new version? Love my tentacles and how they perform. I've recently updated to a new f6, and have recently added a new A cam (R6 Mark II). I would sincerely appreciate an update to this because I use these techniques.
I have one half made for the iPhone hopefully releasing before the year. I have a few new best practices I learned from mistakes.
@@CreativeVideoTipsLooking forward to seeing the update. Always enjoy your stuff. Thank you sir!
Fantastic tutorial…fits a crucial gap for modern Resolve (v17+). Note: I set the A7S3 to 24 fps and the Tentacle syncs to 24, not realizing that the A7S3 , 24 actually means 23.98 . Also if you. Use Mix Pre as the master TC source, it doesn’t burn LTC? Trying to get my head around that
Thanks for watching, yeah on the sony's 24 is really 23.98. On blackmagic you have both 23.98 and 24. You don't want to use the Mix Pre as a master TC source until it's the Mix Pre 10. If you have a 3, or 6, you need to feed it a tentacle sync e too. This will convert in the device to metadata tc for the audio.
@@CreativeVideoTips Ah, gotcha. Super helpful. Oh well, blew one shoot - manual sync :| I'll try again - thanks for the help!
Great little thing to have but definitely, everything they sell is overpriced. Two cheap plastic devices made in china for 350? That’s a PlayStation 5! Plus cables, software and other accessories it can mark up to over 600. Cheap alternatives are sorely needed.
I'm with you in hoping for a less expensive option. There is the Deity TC-1, which I would actually suggest over this kit now. However, they crystal clock that is inside these is actually the expensive part. I don't know what the margins are but that is what is keeping them at their current prices. It's also why companies like Panasonic, that I spoke with won't put them inside of any of their cameras.
@@CreativeVideoTips thanks for the tip, I’ll look into the TC-1. Great videos man
Nice video, clear and comprehensive, as usual from you (me great fan!) - but works only with recorders with dedicated timecode channels
When you do have an audio recorder without a dedicated timecode channel (metadata) you have to take a few extra steps.
I.e.Zoom H5, Tascam DR-44 WL or Zoom F3 are recorders having no extra channel for timecode metadata.
So, the core problem is that these SW (daVinci, Premiere and Final Cut) are video cut SW and in the end an audio recording ain't a video clip.
(Remark: I dislike when they always try to blame daVinci Resolve, only. As per my knowledge this is a known shortcoming of all (!) video cut software daVinci or Final Cut - and Premiere Pro ain't an exception, neither.)
With these smaller recorders you have to use one of the audio channels for capturing the timecode.
Zoom H5 or Tascam DR44 have 4 channels (or i.e. Zoom F3 has 6).
So, you have to "abuse" one of the audio channels (preferably for recording the timecode. Usually, these recorders produce one file for stereo channel 1+2 and seperate files for channel 3 and 4. All 3 "channel-files" (1+2, 3 and 4) are absolutely in sync and have exact the same length.
Basically, we have to produce a video clip with the audio recording. How to achieve this?
Step 1: create an audio track and load audio recording (ch 3 or 4, depending where you 've recorded the timecode)
Step 2: create a video track and load a photo (any photo or even a empty title will do it)
Step 3: adjust the photo to the length of the audio track (begin and end)
Step 4: render the thing as - let's call it - a "Helper Clip". (since we are digital, you won't loose audio information).
The remaining audio recording (stereo ch 1+2) do have the same length as our newly produced "Helper Clip".
Step 5: read in your (multi cam) video clips (as you pointed out in your video - incl. the "Helper Clip")
Step 6: read in the audio stereo file (ch 1+2) at the start of the Helper Clip (should have exactly the same length like the "Helper Clip").
Step 7: mute the audio track from the "Helper Clip"
Admitted, some extra steps - but, for an INDE it might be a temporary solution until one can afford a recorder with dedicated timecode.
p.s.: I've suggested this process to daVinci Support - but, they did not come back on this. Anyway, would be cool to have a macro/plugin doing this automatically, wouldn't it?
So once you "bake" in the timecode, (which I assume is just pulled from one of the channels) You can then retrieve, then sych? So you don't need to use the Tentacle sync software then. Correct?
Absolutely - that's one of the unique joys of Resolve. No need for the tentacle software when you edit with LTC timecode in Resolve or Avid.
The tentacle software is good, but it's an extra step that's not required.
@@CreativeVideoTips Thanks as always Chadwick
Such a great explanation - plus, your production value is great. Thanks for doing this!
I'm glad it was helpful. I just wish this shipping shortage was over so I could buy some more of these for the team I work with.
Thanks! So helpful for a paid job under pressure.
You're so welcome! Thanks so much for your generosity!
Chadwick, I love this video... I've watched it half a dozen times and keeping getting more out of it everytime. Your generosity of knowledge is greatly appreciated. I hope the move to NYC has gone smoothly. Thanks once again for helping make me a better video editor.
Hey, thanks so much! Your kind words are not taken lightly, and it means the world to me the tutorials are helping. It has been a big transition for us since moving, but I have over 40 new videos outlined and some partially shot to start releasing soon all around Resolve. Stay tuned! I even have a new one on with more advanced timecode tricks coming with a few tricks I didn't know when I did this tentacle video.
Do you also have an option to sync audio to clips that are already in the timeline ? When you do DIT work at movie set you get the video footage at a different time than audio. Workflow would be grading the video footage when you get it and add the audio later when you get it at lunch break or when the day is over. Is there and Option for that ?
Yep, I totally get that. I remember always waiting at the end of shoot days to have the mixer copy his files for the DIT. And yes, in the timeline if you select one audio clip with one video clip you can right click and say auto align clips based on waveform or timecode. You can them link them together with command option L. Just know they are only linked on the timeline, not like a merged clip.
@@CreativeVideoTips Yes but that only works if the clip in the timeline already has audio. If you work on a movie set having Alexa or Red camereas. These cameras usually don´t record audio. And no operator wants an extra micro attached to his camera. All you have is timecode. And you begin the QC and pregrading once you get the video footage. Sound comes at lunch and at the end of the day. Can´t wait so long with QC and grading and I don´t want to redo the stuff. Woraround is also possible but super complicated.
at 8:43, I dont have half the options you have when I right click a file, and I do not have "update timecode from audio track" is that something that requires the full paid version of resolve?
Holy Crap. What you call the "Sync the Daillies" workflow is exactly what I've been dying to do but could never figure out nor find from a Google Search. Thank you!!!
Any chance there's a way to "Update Timecode for Audiotrack" from a audio file? (I'm recording a Tentacle to one channel of a non-timecode recorder, then actual audio to another) This would save a trip to the dedicated Tentacle App.
Either way, Thanks a bunch! You've given me the final key to my workflow I've been missing.
wow So much I didn't know about Davinci I just learned in 20 Mins. Since I have a couple Z9's and a Z6ii with Atomos Ninja im going with the Atomos Ultra Sync Blues for Timecode. Im very new to this category and actually only been shooting Video for about a year (Primarily a Photographer) but you broke down many questions I had about Timecode very easy. Thanks!!
Thank you for such a good video which is the best on you tube if you are working with tentacles.
For me everything works except the "flatten multicam" part 'cause in 18.6 there's two options and if you select any the video just disapair :(
OMFG!!! My poor head is spinning, but dang it I'm gonna put final cut on hold, and give Davinci a go. And yes I 100000% agree doing the clap thing to sync audio blows.
Thank you for breaking this down so perfectly. I'm a director trying to finish a commercial and you just launched me into being able to finish it :). Cheers.
Why don't/can't Camera Manufactures add a simple clock as in all cell phones that is accurate to say 1/10th of a second imprinted on all Digital Files created by Cell phones to the most expensive Video cameras. This would Permit Auto syncing of any video footage. Hell Date, Time and GPS location are imprinted on most Still photos today. Besides aren't Date & Time of creation (Embedded) in the first frame in the metadata of each clip?
Of Course then there wouldn't be any need for expensive add ons. Sorry Bro.
Thanks man, useful info. I bought an Atomos Ninja 7 mainly because my Sonny a6000 can't shoot for very long (mainly doing location classical music productions). Thinking of gradually transiting to Video Cameras (not photo cameras that do video) plus having some Photo cameras for when I need more than 4 camera angels at the same time.So, looking at the Tentancle Sync System and I was wondering if the Atomos is still relevant and useful or if I should sell it and get another monitor + Tentancle boxes. Thanks!
Adaptive track stuff was super helpful. I've wondered how to do this. Thanks!
Question: I have 3 of 4 items synced perfectly. My Blackmagic 6K (+Sync E), Tentacle Track E, Zoom F6 (+Sync E) all take in the time code metadata, but my Sony A1 I have a Tentacle Sync E constantly plugged in and it's recording "audio timecode".
So when I drop it in, everything syncs up immediately except for the Sony. Expected.
I did what you suggested using "Update Timecode from Audio Track" and everything synced!
My only problem is in my footage I'm holding up the Tentacle "Timebar" app which basically is a digital slate.
I noticed that the Sony is off by 2 frames.
Is there something I can do to fix this?
I eventually want to get an external recorder and some tentacle sync units so I can get better audio when I record live music events.
I think that is an excellent idea. When you are looking at audio recorders - look for devices that accept timecode this way they will convert in camera to metadata timecode like the sound devices mix pre 3 in this tutorial. Thanks for watching!
The update timecode is not showing in resolve 18.5 -- do you know where I can find it?
Hello there, thank you for all the content you create this is really helpful. Do you know, or someone in the comment section, if it's possible to run with your camera while using the Tentacle Sync with an Atomos's device like the Ninja V?
Not sure if I missed it or not, and I am pretty sure I know what to do. But you showed all the cameras having the timecode on the left and scratch on the right. Didn't see how the main audio got the timecode.
Lots of cool techniques in there. Not sure why every wedding or event videographer isn't using the tentacle system? I guess it's been awhile since I saw a demo of it. I thought that it involved syncing in an app, and exporting .xml - This new method is so much better and easier. Thanks for the info Chadwick
Hey Jim, you didn't miss it - I accidentally cut that part out. The main audio received the tentacle timecode and converted in the sound devices recorder itself to metadata timecode (kind of like a blackmagic camera does). So there is no need to do anything with that in Resolve.
I think I have read in some places that you can't convert audio only files LTC timecode to metadata timecode in Resolve but didn't have anything to test with since we've always run with the sound devices boxes.
@@CreativeVideoTips Hi Chadwick great video! One question: as soon as you click on update timecode from audio track the first video of fx and a7 change to something around 9:51. What I don't get is why the first audio track from mixpre says 9:48 and the videos are starting from 9:51. Do they sync anyway without problem? Thank you!
So just to be clear, when using Tentacle with DR you don't need to first run the clips thru the TENTACLE SYNC STUDIO software - all the syncing can happen natively in DR, right?
Hello, thank you for the video, it all works great, only my audio channels get grouped into one channel. I can still see the individual channels but i cannot seem to edit them individually. In the synch fast video from a fellow youtuber there is a very lengthy explanation how to get them into individual channels again but somehow I don't get it to work. I would very much appreciate an answer.
When you update the timecode metadata ,you're clicking 'update timecode from audio track' however what if the Sync E is connected using the flash sync port in the case of the Panasonic S1H? Is this step still needed and if so will that work as the sync port is not an audio track
Hey dude I have a quick question for you. First, thank you for the videos. They are super helpful. Second, I followed this video to the letter and my Zoom F6 isn't syncing up with the video in DaVinci. All 3 camera angles sync up and I can see all of the timecode and metadata on the Zoom but it puts the Zoom's audio file before the sync'd up video after opening the multicam in the timeline. I know everything is set up right as the camera's are syncing but am I missing something on the Zoom or in Davinci?
Are you also striping timecode into your field recorder? Or how does Resolve know how to sync the cameras to the audio?
Haven't used resolve in a while. But all your videos are easy to understand and follow 👍🏼.
Great to hear! I appreciate you watching.
And if you are shooting slowmo 120, 100 90 your camera probably doesn't record so a clap may not be easy.
Any reason, after following these steps, that I'm unable to sync using timecode?
At minute 12:59, the option "convert to linked group" appears blocked.
I’m using wireless go2 for sports and sometimes the audio cuts in and out and I have to try and sync the internal recording. Now that plural eyes is gone it’s been harder. Anyway I can use tentacle sync in this situation I don’t roll the camera all day just few plays
thats awesome, thank you so much. helped me a ton, even makes the tentacle sync studio unnecessary and makes my workflow leaner.
Near the end of the video, after you have synced the dailies, you jump to the source tape to mark in/out points to append into the timeline. When I do this, the sync bin is using the old audio of the clip, not the newly synced audio. But once the clip is in the timeline, it uses the new audio. In the video here, I can't tell if yours is also doing this because you have the audio off. Is there a way in the sync bin to use the newly synced audio while selecting clips?
Hi at the 8:28 segment you update the time code using the audio track, as the Tentacle puts the time code on the audio track when you go into the mic input. On the URSA 12k you get a TC in via a BNC connector. I used that instead of the xlr mic input because that is a weird adaptior (xlr male to 3.5mm male) The TC IN does not put a sync sound on the audio track, it looks like it just puts the TC numbers in the metadata. How do you update TC without the sync sound on the audio track? Thanks!
Hi Mark - this is such a good question and misconception with the Blackmagic cameras. With Blackmagic or any other camera that has a real timecode input - you do not need to do anything with updating timecode from audio track like demonstrated at 8:28. Your metadata tc should already be correct over your bnc connector.
It's such a simple add on to all audio and video recorders when manufactured a sync with WWV Corrifnsted time. All so called ATOMIC watches have the capability. Depending on accuracy needed it can sync to a Millionth of a second or finer. The actual world wide time at the start of every frame for video and some time interval for audio.Eventually every recording in the world would would have embedder Universal Coordinated time stamp.
I sure wish we were there now with having good clocks built in like you mention. When you think about it, it's kind of funny how we don't have it seeing how much tech advancements we have in other areas of filmmaking. I guess it must still be seen as a fringe type of feature.
Do I need to use a specific tentacles as master tentacle or any tentacle units can be a master?
Good question. Any of them can be a master. The phone app to sync is how I like to do it.
@@CreativeVideoTips that's awesome dude. I don't understand why they only sell one unit and two units of tentacles on line? How about if I need four tentacles? Can I still match those other two extra units without hassle. Sorry I'm starter for all of this. Thank you so much for your answer. I appreciate you for educating me.
New Sub, very helpful video Thanks!
Great tutorial. Slow enough for me to follow along. Thanks!
Holy Cow! FIguring out how to break out the multicam audio into individual tracks is an Emmy worthy tip. I mean, how in the world did you figure that out? I found the link to this video in a BMD Forum but it seems like this deep level app functionality should be so much more accessible. Especially considering this is pro level work flow stuff that would drive an editor crazy as you try to work with professional audio post mixers and other collaborators. Seriously worth a sub by far! Excellent production yourself for a simple project like a youtube video tip here. Thanks. This is one of the final steps in finishing a feature film I've been editing / directing and it is soooooo helpful. Excited to find this channel!
Hi Danor, I'm so glad you found this crazy work around and the channel. Yes, I can tell you I pulled my few hairs out trying to understand the best way to get back to the original tracks. It is kind of silly so I'm hoping they consider rewriting this section of the edit page in a future Resolve release. My guess is they are working on so many things that this was just overlooked. Please keep in touch, I'd love to see the film or the trailer for it when it's done.
You're the man! Thank you so freaking much!
At £700 for the tentacle sync e, its not cheap, its better to have a good editing system
Cheap is kind of relative I think in film gear but you’re right it’s no tiny amount of cash. I didn’t mention the price because that can always change and I’m more interested in showing the value of the tool and workflow.
However to my knowledge this is the least expensive way to jam multiple cameras together.
A great editing system is key too, but I can tell you many times I’ve been stuck matching up lip smacks and weird visual environmental cues to sync manually where no fancy computer would have helped at all.
It's roughly £210 for one. 3 of them would be close to £700 though.
@@CreativeVideoTips And to add to this, it can be helpful to think of budgets as percentages both in terms of time and money.
In a small scale project with e.g. two or three cameras with audio recorded directly to the cameras, timecode makes little sense in time savings as syncing audio and cameras in this case is extremely simple and fast (granted you pay attention when shooting). Smaller budgets might also mean less takes in total. If the budget is in the range of 5 cameras and multiple audio channels / recorders starting and stopping sporadically, manual syncing can be nearly impossible without timecode, so the time benefit is pretty much infinite. In addition, this solution would be peanuts in a >20000 €/$ environment.
based on the content production which was easy to follow and understand for DaVinci newb like me, I have liked and subbed! thank you for this.
Welcome aboard! I really appreciate you!
Super helpful. Thanks
Glad it was helpful!
Awesome video. I can’t believe how cumbersome the audio management is at the end. I’ll never remember this….
Thanks, - now this is kind of a worse case scenario and in my latest multicam video on the speed editor I try to simplify the linking unlinking process - but YES, I sure hope blackmagic makes this easier in the future.
Chadwick, how did you got the timecode in the soundevice?
great sharing tips and love it. here I subscribed.
Your info on unlinking tracks from an external audio recorder is fantastic. I've been wrestling with that for a while. Thanks for sharing that solution.
Glad to help! I hope it eventually gets simplified, but this one of the ways I get around it for now.
Great Tutorial! Thank you very much!
you my man have good taste in Mice ;) G600 mouse
Great video Chadwick. Thanks
thankssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss
I've been learning, and re-learning, a lot from you (with new knowledge on what I thought I knew). I've been on your playlist binge. :D Thank you for an amazing resource for Da Vinci Resolve.
Thank you so much for your kind words. It makes my day to hear that these resources have been helpful. Thanks for watching!
Good stuff (as usual)! I just hope that I can get to all of your tutorials before a new keyboard is released:-) Thanks for posting!
Glad you like them! That is very kind of you to say.
You are the fucking GOAAAAAT!!
This shouldn't be free! Wow!
I got something out of your video, for sure. But, much was confusing. No timecode equipment, so can’t do a lot of learning. Still, great capability.
I apologize if my explanations were not clear. I did make a newer video on timecode this year with the deity boxes. Maybe that will be helpful.
Thank you so much for your insights! Your content is very valuable
You're so welcome!
Hopefully this has better range than the Bluetooth apps paired with BMD cameras that can achieve the same result. I can’t use those when filming performances become they drop out camera control if I’m at anything but the smallest venues.
Also: “I need an NLE with zero sync issues when editing”, Me: “have you considered a career in botany?”
Hi Michael - from my experience you need to be within 5-10 feet for this to work when syncing, but after that you are good to go the rest of the day (maybe sync once at lunch). Since they're are hard plugged in its just during the sync that the bluetooth matters.
There is also an option to sync them with the cable without bluetooth. I just didn't show this method in the tutorial.
This is so cool Chadwick,
I use two 32 bit Tenticale recorders currently. Could I use JAM Sync on NON pro cameras ?
I only have a Canon M50 and DJI pocket 2 and perhaps Android when i add that to the mix?
What you just showed would save so much time when sync on waveform fails.
Great video !
Oh yeah those track e recorders you have are compatible with the sync e from this video I believe.
The 2 things you need are a mic input and then also the ability to record the same frame rate. So just make sure they can all record the exact same framerate. Meaning 24 does not equal 23.98
@@CreativeVideoTips thank you Chadwick
@@CreativeVideoTips FYI - I found out the hard way that Sony's Alpha cameras say 24, but it's actually 23.98. I think DJI is the same.
Thanks for the content. It is too complicated for me right now but someday I might want to use it, so thanks again.
I appreciate checking it out and the honest feedback.
You just saved me countless hours with multicam. Thank you!
Tried numerous codecs and different containers with LTC signal on the left channel.Still no acurate read out. Could you maybe share a short 5 second sample clip with Burn-in timecode so i can test? Thx for any help!!!
Chadwick,.....nevermind i found the fix.....maybe a duh moment signal was to low for resolve to get accurate read out. The reason why i was blinded ...a had another program that readed the files just perfect !!! so that's why i was mislead.
Are you able to sync all the footage to an audio track. For example shooting a music video with several takes.
yes, but the way I would do that is right click on clips in the media pool - "insert to timeline using timecode", for each new camera angle, patch the orange destination box up 1 video track and repeat. After they are laid, out remove the big extra space at the start of the timeline and right click to the timeline to convert into a multicam clip
Thanks again, Chadwick. Great explanations as per your norm!
My pleasure! Thanks dude :)
That is just SUPER helpful man. Stellar work my man!
Glad it helped! Thanks for watching.
SUPER TIPS. Lets`go bro 🤟
Thanks man! This saved me hours
Can Premiere do this??? I want to sync clips and audio without creating a multicam clip. I want to be able to grab clips as needed with all of the sync audio tracks.
Yes and no. Both premiere and Final Cut can't convert audio timecode to metadata timecode - but there are 3rd party paid tools that can do this - I just haven't used them. Only Avid and Resolve can natively take audio timecode and make use of it. However, Premiere can sync by using the audio waveforms - either as a Multicam or merging the good sound on a clip by clip basis.
this sounds made me think my nintendo wii got powered on
Topic idea: can you go over the new Flexbus system in resolve?
You have a superb teaching style and I can tell you research each video well to deliver dense info. Thank you!
Great suggestion! This hasn't been covered very much from what I can tell and it's a pretty cool feature. It's not something I use very much yet, but happy to try to dive in more and share what I learn. Thanks!
@@CreativeVideoTips Things to explore would be:
How to understand the flow of the signals (sending tracks to buses, buses to buses, and buses to tracks)
How to create Submixes (sending one or more tracks that belong to the same category, such as dialogue, to a single channel) that can be controlled with a single fader and or dynamics processing.
How to send a Submix signal to another channel for use in Sidechain compression so that a music bus or track can interact with a dialogue track/submix
Really brilliant .. thanks for all of this. 10/10
You're very welcome!
Very good work man, thanks for info. Really appreciated it!
Question: when Syncing a Multicam and and Cutting one take (such as interviews) .... then all is good. But how would you approach the same things for something like a music video, in which case you have 3cameras angle (A,B,C) but you are recording with a click track/music track and then if you do 4 takes you end up having 12video tracks that need to be synced (3camera angles per take) ...yet label them in a way that the director can refer to the individual videos as Take1-CamA, Take2-CamB and so forth. Sync Based on waveform does work well - but there is always that one video that will not and it's hard to figure out what's going on. kind of a loaded question. Thanks in advance!
After researching all the related muticam issues in terms of the audio track in Davinci Resolve in days, including Blackmagic forums, I finally found the solution here! Especially at 12'56"! I love you ! THANKS! Your other tutorials are great as well!
What if person had sources with different frame rates? Main camera in 24 fps but then you have a slow mo cam in 60 fps.
There is no such thing as smpte timecode for 60 fps, so you really can't use timecode for this purpose. If sync matter on the slow mo and you could record sound, I would sync them by the waveforms.
Chadwick, I've been watching your videos for several months now. Turn 70 next March and am just starting my Tuber gig. Named the channel Boomer Bloc. Keep em coming, bubba.
great tips, thanks a lot.
Great tutorial! Thanks for making these wonderful resources.
Do you have a suggested workflow for synchronising clips when some of the clips don't (or can't) use Timecode, like clips from an old GoPro for action footage while the rest of the clips do use timecode? Can you do a stepped sync process, perhaps first doing the sync using Timecode for the majority of the clips, then using the synced clip plus the GoPro clips using Audio Waveform to complete the process?
Gold standard right here.
Amazing work.
Thanks so much for watching Kelvin!
Hi Chadwick, thank you for the nice tutorial! I have a question for fps setting. So I got video in 29.97fps(set in 30,but dropped?), audio file in 25fps but ZOOM F6 can set timecode fuction in 29.97ND, should I set Tentacle's timecode in 29.97(DF)?
Thanks for this video. Looking because I have just got a MixPre 6 and have a Tentacle Sync E set arriving tomorrow. This answers all my questions and helps so much. It explains everything I needed to know. Once I got bit by some bad audio tracks - I am sold on having the MixPre record everything.