I've been curious as to how it's done, and you answered that curiosity comprehensively, thanks. I'll stick to recording video and adding ambient music to it. The chord changes are the only timestamp, it's a lot easier :D
Panasonic do make cameras with TC input on the flash sync port, I'm sure you know this. Then the Deity TC1 can be used on the camera, on the audio recorder and on another camera via LTC.
Yes, thanks, I do know. But the S5II is the only one combining full frame with fast auto-focus, so was the only choice at the time for my application where I rely heavily on good auto-focus. Had the GH7 come out a few weeks earlier, I might have gone for that. I am not too bothered about sensor size, and low light performance is of some, but not huge importance for me. So, yes, the GH7 might actually be the better tool for me and it does have timecode input. I guess it's always the same story: If you wait just a little bit longer...
Your commitment to quality here is admirable! Very interesting to hear this behind the scenes description of your workflow. As it happens I just made a video about how I handle audio (on this new "Tweedy Misc" channel), and it's much more primitive! I just record audio independently and then use the "Auto Sync Audio" (based on waveforms) feature in DaVinci Resolve. As long as the camera's built in microphone could also just about hear the same sound as the independent recorder (in my case a Tascam DR 10L Pro) then it mostly seems to work. Although I guess with longer video clips, because of the clock drift issue you describe here, it might struggle.
Thanks for that comment, Tweedy! I have actually done the same in Final Cut Pro. But there are two draw-backs: Firstly, I like to keep my footage files outside the FCPX library so that the library file doesn't get so huge (disk space!). By using the Auto-Sync feature, I produce a new combined clip that is stored inside the library file and makes it huge, thus effectively doubling disk usage. Possibly, that is handled better by Davinci Resolve. I'll give it a try. Secondly, I sometimes have such bad audio from the on-camera mic (strong wind, long distance) that the Auto-Sync feature just doesn't work. In that case I also struggle with my hand-sync method. The devil is in the detail, as we say!
@@MattMesserPics I haven't noticed auto audio syncing in DaVinci Resolve using a lot of disk space but I'm not sure how it works behind the scenes. You're right though, it's not an infallible solution, and this approach definitely isn't going to work if you are talking a long way from the camera. If I know I'm doing that I tend to do the clap trick. I also find it's not so reliable for very short video clips where I only say a handful of words - I suppose there just isn't enough waveform for it to do the matching. So I often end up saying some extra nonsense I know I'm going to throw away when it comes to editing.
Don't you find that the level of the MKE2 is very low Even when you boost the gain as far as it will go? I always have trouble with my MKE2. It seems like the only thing they can drive it properly is my Sennheiser g3 But I want to plug it directly in to a recorder.
Interesting you say that. The raw level IS very low - I have to give it around 30dB boost in Final Cut, but I always thought that's because of the low default output on my recorder. I have only ever used it with my Zoom F2 in 32bit float, so I attributed the low output to the encoding. I am actually very happy with the sound in the final edit. Nearly all the audio you hear from me in the films I've made in the past year is from the MKE2. I'm curious to hear it with my Deity recorder. Did you see that Curtis Judd claims the low bias voltage on the F2 could be an issue for more power hungry mics? Perhaps that's the kind of thing you see?
Great video. I would also love to go fully TC. My F8nPro and Rode Wireless Pro work together very nicely, but the F2, F3 and Tascam X8 only support Atomos Blue. Unfortunately I cannot jamsync into the Wireless Pro... and sending SMPTE TC out as audio is only possible from the F8nPro. So I was thinking about getting an Atomos One to be able to link all together. But perhaps I would really be better off replacing the F3 with the new Tascam FR-AV2, the F2s with the Deitys and hope Tascam would eventually come out with an X8 successor. But then the problem remains: none of my small cheapo cameras support TC. For me it is a just a hobby, so there is nothing to offset these costs. For a while I might have to cook with what I already have. Things would change radically if the Wireless Pro could take timecode in...
Thanks for that great comment! And, yes, I know the feeling - It can be really messy, taking into account in which direction you can jamsync and which not, so you end up with some device being the master that is not your choice. I am also thinking of selling my F3 and getting the Tascam instead. It seems that as a bonus the Tascam also has even lower noise pre-amps. But about those non-TC cameras: TC via audio channel really works a treat! It just means that you either have to pre-process your footage or ditch FCPX...good luck!
@MattMesserPics I assume (based on specs) that the FR-AV2 has roughly the same preamp quality as the X8. And it is on par with the F3, maybe 1dB difference in noise, so nothing that really counts. I love the X8, so versatile. But timecode... F3 I bought because I found one cheap on Marketplace and I could not resist. I appreciate it being so simple, but it has certain limitations and irritating design issues. The F2s are great, I use them all the time, I got the two for the price of one PR2...
@@ww1www Well, I sold my F2 when I got the PR2, but haven't used that one in the field yet. I just really wanted to have TC...but let's see, I may start missing the F2, it was SO simple to use and reliable - never once let me down!
Thanks for the video. Do the Rode Wireless Pro need you to bring along a laptop to setup / change the timecode functions? Also, wouldn't a standard "stereo breakout cable" work fine for recording timecode in to one camera channel and the Rode Video NTG Mic in the other camera audio channel? (I think the stereo breakout cables sell for about US $12 here in the states). That is what Andrew from deity suggested to me when I asked about using both a Deity TC-1 and my Deity V-Mic D4 in to my Panasonic S5 IIX (The Deity V-Mic D4 is basically Deity's version of the Rode Video Mic NTG).
Thanks for the comment! No, you don't need a laptop - The Rode Receiver can be configured standalone by buttons. But if you are at home anyway, the Rode Central app is a bit more convenient. And you are right: A stereo breakout cable works just fine. In fact, the 'Franken-cable' I presented at the 12:20 mark or thereabouts is one I made myself - A bit stupidly, but I thought the coil cables would be good.(they aren't in this case). Do you have any thoughts about the videomic NTG vs the Deity? Are they as interchangeable as I always thought? My choice of the Rode was a bit random, but I like it.
Well done explaining the way to operate the Doofer,s , as it's even more complex than some surgery's, . And the difference between God and a Dr! God does not think he is a Dr, grrrr .
Cool video man, I have a deity on the way and going to use it to get timecode audio with my Alexa
Glad it was useful, thanks!
I've been curious as to how it's done, and you answered that curiosity comprehensively, thanks.
I'll stick to recording video and adding ambient music to it. The chord changes are the only timestamp, it's a lot easier :D
Lucky you - I have a talent for choosing the more complicated way 🙂 Thanks for the nice comment!
@@MattMesserPics The results speak for themselves thanks to all that effort though.
@@leftpastsaturn67 Thanks, mate!
Panasonic do make cameras with TC input on the flash sync port, I'm sure you know this. Then the Deity TC1 can be used on the camera, on the audio recorder and on another camera via LTC.
Yes, thanks, I do know. But the S5II is the only one combining full frame with fast auto-focus, so was the only choice at the time for my application where I rely heavily on good auto-focus. Had the GH7 come out a few weeks earlier, I might have gone for that. I am not too bothered about sensor size, and low light performance is of some, but not huge importance for me. So, yes, the GH7 might actually be the better tool for me and it does have timecode input. I guess it's always the same story: If you wait just a little bit longer...
@@MattMesserPics I didn’t mention the GH7, but that would have to be my next upgrade from the GH5mkii.
Your commitment to quality here is admirable! Very interesting to hear this behind the scenes description of your workflow. As it happens I just made a video about how I handle audio (on this new "Tweedy Misc" channel), and it's much more primitive! I just record audio independently and then use the "Auto Sync Audio" (based on waveforms) feature in DaVinci Resolve. As long as the camera's built in microphone could also just about hear the same sound as the independent recorder (in my case a Tascam DR 10L Pro) then it mostly seems to work. Although I guess with longer video clips, because of the clock drift issue you describe here, it might struggle.
Thanks for that comment, Tweedy!
I have actually done the same in Final Cut Pro. But there are two draw-backs: Firstly, I like to keep my footage files outside the FCPX library so that the library file doesn't get so huge (disk space!). By using the Auto-Sync feature, I produce a new combined clip that is stored inside the library file and makes it huge, thus effectively doubling disk usage. Possibly, that is handled better by Davinci Resolve. I'll give it a try.
Secondly, I sometimes have such bad audio from the on-camera mic (strong wind, long distance) that the Auto-Sync feature just doesn't work. In that case I also struggle with my hand-sync method.
The devil is in the detail, as we say!
@@MattMesserPics I haven't noticed auto audio syncing in DaVinci Resolve using a lot of disk space but I'm not sure how it works behind the scenes.
You're right though, it's not an infallible solution, and this approach definitely isn't going to work if you are talking a long way from the camera. If I know I'm doing that I tend to do the clap trick.
I also find it's not so reliable for very short video clips where I only say a handful of words - I suppose there just isn't enough waveform for it to do the matching. So I often end up saying some extra nonsense I know I'm going to throw away when it comes to editing.
Don't you find that the level of the MKE2 is very low Even when you boost the gain as far as it will go? I always have trouble with my MKE2. It seems like the only thing they can drive it properly is my Sennheiser g3 But I want to plug it directly in to a recorder.
Interesting you say that. The raw level IS very low - I have to give it around 30dB boost in Final Cut, but I always thought that's because of the low default output on my recorder. I have only ever used it with my Zoom F2 in 32bit float, so I attributed the low output to the encoding. I am actually very happy with the sound in the final edit. Nearly all the audio you hear from me in the films I've made in the past year is from the MKE2. I'm curious to hear it with my Deity recorder. Did you see that Curtis Judd claims the low bias voltage on the F2 could be an issue for more power hungry mics? Perhaps that's the kind of thing you see?
Deity has an app for syncing audio and video
I am interested in knowing more about that app workflow which eliminates the need for a separate timecode device. But could not find anything
Great video. I would also love to go fully TC. My F8nPro and Rode Wireless Pro work together very nicely, but the F2, F3 and Tascam X8 only support Atomos Blue. Unfortunately I cannot jamsync into the Wireless Pro... and sending SMPTE TC out as audio is only possible from the F8nPro. So I was thinking about getting an Atomos One to be able to link all together. But perhaps I would really be better off replacing the F3 with the new Tascam FR-AV2, the F2s with the Deitys and hope Tascam would eventually come out with an X8 successor. But then the problem remains: none of my small cheapo cameras support TC. For me it is a just a hobby, so there is nothing to offset these costs. For a while I might have to cook with what I already have. Things would change radically if the Wireless Pro could take timecode in...
Thanks for that great comment! And, yes, I know the feeling - It can be really messy, taking into account in which direction you can jamsync and which not, so you end up with some device being the master that is not your choice. I am also thinking of selling my F3 and getting the Tascam instead. It seems that as a bonus the Tascam also has even lower noise pre-amps. But about those non-TC cameras: TC via audio channel really works a treat! It just means that you either have to pre-process your footage or ditch FCPX...good luck!
@MattMesserPics I assume (based on specs) that the FR-AV2 has roughly the same preamp quality as the X8. And it is on par with the F3, maybe 1dB difference in noise, so nothing that really counts. I love the X8, so versatile. But timecode... F3 I bought because I found one cheap on Marketplace and I could not resist. I appreciate it being so simple, but it has certain limitations and irritating design issues. The F2s are great, I use them all the time, I got the two for the price of one PR2...
@@ww1www Well, I sold my F2 when I got the PR2, but haven't used that one in the field yet. I just really wanted to have TC...but let's see, I may start missing the F2, it was SO simple to use and reliable - never once let me down!
Thanks for the video. Do the Rode Wireless Pro need you to bring along a laptop to setup / change the timecode functions? Also, wouldn't a standard "stereo breakout cable" work fine for recording timecode in to one camera channel and the Rode Video NTG Mic in the other camera audio channel? (I think the stereo breakout cables sell for about US $12 here in the states). That is what Andrew from deity suggested to me when I asked about using both a Deity TC-1 and my Deity V-Mic D4 in to my Panasonic S5 IIX (The Deity V-Mic D4 is basically Deity's version of the Rode Video Mic NTG).
Thanks for the comment! No, you don't need a laptop - The Rode Receiver can be configured standalone by buttons. But if you are at home anyway, the Rode Central app is a bit more convenient. And you are right: A stereo breakout cable works just fine. In fact, the 'Franken-cable' I presented at the 12:20 mark or thereabouts is one I made myself - A bit stupidly, but I thought the coil cables would be good.(they aren't in this case). Do you have any thoughts about the videomic NTG vs the Deity? Are they as interchangeable as I always thought? My choice of the Rode was a bit random, but I like it.
Well done explaining the way to operate the Doofer,s , as it's even more complex than some surgery's, . And the difference between God and a Dr! God does not think he is a Dr, grrrr .
😅