Hands down the single best upgrade I ever added to my setup. Shooting simultaneously with 3 cameras and 4 tracks of audio, and syncing only takes a few seconds now.
Just got my Tentacle Sync E in the mail today. I was actually surprised at how tiny it is! I was not prepared for that. I haven't recorded with it yet, but after maybe 2 minutes I figured out how to sync both units with my MixPre-10T. It's so simple. I'm really looking forward to recording the next multicamera shoot. Thanks Curtis!
Congrats on the Tentacles! You're probably already planning this but you might test ahead of time to work out any kinks and you should be good to go and have a smoother post workflow!
Curtis Judd definitely! I even want to try cheating... See if I can feed a third camera timecode from the headphone output from the other... Not ideal, but I want to see if it will work in a pinch
Hi Curtis! Finally got my pair of tentacle sync e. I am using Saramonic uv9 2 channel wireless system as a camera hub. I found very useful solutions. Sending audio from my mix pre to one channel, timecode to the 2nd channel wirelessly to all cameras. Works great and no need to have tentacle sync on each camera.
After watching many of your videos, as well as looking at the various timecode devices at B&H, I have finally settled on a pair of these (Tentacle Sync E). They arrived yesterday. So, thanks for these videos, Curtis.
Curtis is the freaking best!!!!!,.... Please ignore the 13 thumbs down,... Those people have a tape deck in one hand and a polaroid camera in the other hand
Was waiting for the new version to be launched. Looks like a versatile and user friendly package now. Thanks for the overview Curtis! Will order a pack of 2 from the tentacle website.
G'day Curtis, great review. I'm using a splitter to record LTC to the left channel and audio to the right going into a rx0 ii. The window's "Tenticle Timecode Tool" reads the LTC fine and writes the timecode to the metadata. It also mutes the timecode audio on the left channel as well. So I'm having to manually change the right side audio to both channels in prem pro when editing. Not having a Mac, does Tentacle Sync Studio fix this issue and place the scratch audio/splitter audio onto both channels?
I don’t know but can check next time I run a scenario like that. But I’m curious, why keep the camera audio at all if the timecode works? Most consider the scratch audio from the camera a backup in case the timecode settings are bad or some other problem arises.
Hi Curtis. Great video. Thank you. I am right that if I jam-sync a timecode from the Sync E to my Sony FX6, then I don't need to keep a Sync E connected to the camera? Thanks. Gary
No, if you want accurate sync in post, cameras always need to have a timecode box attached to them throughout the entire shoot. If you just need to get in the general ballpark and are ok manually precision syncing each clip, then that should work ok.
Hi Curtis, thanks once again for your review. You seem to always have the answers I'm looking for. I like how you go into detail about how things work and what they are capable of as well as showing us how to do it as well. I was wondering if you would be able to give a tutorial/demo about how to use lectrosonic SR duel receiver with lectrosonic transmitters. at this time I've just been using Sennheiser G3 wireless systems and am looking to learn more about what the next step might be! Thanks again for your time and videos!
Hi Curtis, for the Panasonic DVX 200 and Zoom F6 Recorder. what connector do I use? Also If I'm using the recorder with lavalier mics and want to synch that sound with my footage from my DVX is it a difficult process. Thank you so much. We have purchased equipment that you demonstrated because you make things easy to understand.
For the DVX200 there is a BNC timecode input. So you'll need a 3.5mm TRS to BNC cable for that. Then for the F6, you should be able to use the included 3.5mm cable.
Hi Curtis, to your knowledge, should one choose to record a video using an iPhone, would it accept a mic-level signal from the Tentacle Sync in the headphone jack? Would a TRS 3.5mm cable be sufficient to carry the TC audio signal and burn it to the left channel of the video recording or would a TRRS be necessary? Have you tried to test this?
Hi Charles, phones only record mono via their 3.5mm inputs (or in the case of iPhone via its 3.5mm to lightning adapter). So a TRS to TRRS from the tentacle to phone should record the timecode but no scratch audio. Also note that phones have notoriously unreliable real-time clocks when it comes to video recording so with timecode the start of the video will be in sync with the separately recorded audio, the camera will drift quite quickly. This is not a problem if you're shooting short clips, but I've even found clips at 5 minutes are already drifting on many phones. Best wishes!
Great video, thanks! Might sound redundant but I'd like to connect a tentacle sync E to my Denecke TS-C slate. Do you think a standard 1/4" to 1/8" cable will work, or do you feel I'd need a specialized cable?
Great video as always Curtis! A couple questions, Do you have to use the tentacle sync software to sync? Would you be able to just import all files to Premiere then sync via timecode?
It depends on whether your camera has a dedicated timecode input or not. If you run the tentacle into an audio input, you will need to convert that audio to timecode. You can do that with the Tentacle software. Sometimes DaVinci Resolve will do it but it isn't as reliable for me.
Nicely done, Curtis, as always. But I think you should point out to viewers that Time Code doesn't sync multiple cameras over long periods of time. This is more accurately done by Genlock, which Ambient and Timecode Systems can provide. I believe Time Code is intended to sync one sound recorder with one camera, hence the two device package from Tentacle Sync and other manufacturers.
Thanks Kent, good point regarding Genlock. I do find timecode good for clips up to about 20 minutes and with multiple cameras. But once you go much longer than that, I agree, Genlock is the technology needed. Could be a good topic for a future episode. Thanks!
I find the ability to change settings and monitor via the bluetooth app more important than wirelessly syncing Lockits. That may be a subjective matter, but in that light, I prefer the Sync E. Others might be more committed to wireless sync capabilities.
I set the TC the other way around. I jam the SD 633 from the Tentacle instead of the 633 being the master clock. Then I sync the other Tentacles off the same box that jammed the mixer. Works fine, not sure if there is any drawback syncing this way.
That's a fine way to do it as well. In fact, if you have a Sync E you can leave attached to the 633 as the master clock, you can wirelessly re-jam all of the Sync Es at any time during the shoot and the 633 will be re-jammed as well.
Sorry, I asked this question before (and can’t find the answer) bought the Zoom F4 and the Two Tentacle Syncs... one goes into the F4 and the other goes into my Nikon Z6 mic - to generate a more accurate Time Code (Gerald and You mentioned some quirky connection issue?) but I need to connect the Z6 to my Atomos Ninja V recorder to get ProRes RAW... Nikon says to set the Time Code to the (in accurate) Z6 - so i assume the Nina picks up the Time Code from the Z6 as the Video is being written to the Ninja... Won’t the - more accurate - F4 / Tentacled Audio being created for the Z6’s Left channel be outta sync with the HDMI video/audio being transferred to the Ninja based on the Z6 clock???
Hi George, that'll require some testing to confirm. However, if you feed the tentacle to the Z6's mic input, it should be in sync. You will ignore the Z6's and ATOMOS's timecode. Hope that helps!
If I'm recording in a studio, is there a benefit to using this process over simply recording a scratch audio track on my cameras and selecting "sync to audio" in my NLE program? That's how I'm doing it now and it seems pretty simple.
Curtis, @ 8:56 you mentioned, “For time code to work, 1)correct output level (mic for mic inputs, line for timecode inputs). Well, I use MixPre-6 Channel 1 & 2 as line level connected to DJ board for L & R and Channel 3 & 4 to mic level connected to Sony wireless system dual channel receiver(URX-P03D) transmitting audio from two lavaliere. Its all get recorded to MixPre-6 but the fact that I am getting 2 channel with line level signal and 2 channel with mic level signal in the same device, how is that going to affect in the post. Will the audio sync properly in Tentacle software? Thanks in advance!
+Saud Kazi you would set the Tentacle to line level and connect it to the aux input on the MixPre. The MixPre expects line level input for timecode via the aux input.
+Curtis Judd and to finish the thought: whether you use line or mic level input for what you are recording on the audio inputs it does not matter. Only the input receiving timecode is relevant for the level you set on the Tentacle.
Great! Thanks for your prompt response... and lastly, what about for Canon C100 M2, since I will be attaching it to mic, should it be mic or line ( Sorry if my question sound dumb)
Hi Curtis, great stuff as usual. it s so nice to have you out there supporting all of us. I have one question regarding the tentacle or I guess any sync box system. If you shut off the camera but leave the sync box on do you have to re-jam when you turn the camera back on. My feeling is the camera should just pick up the sync automatically but I need to be sure. Thanks Terry Woolf, Western Arctic Moving Pictures.
I'm trying to get everything clear before I purchase two tentacles to use with two cams and a SD 633 --hopefully to improve my workflow with Multicam scenarios. I understood most of your explanation, just a couple of quick questions: When you synced in FCPX, does Final Cut use the embedded time code or audio to do the sync, hopefully, the latter. Also, what happened to the SD audio track? Does each clip after processing by the Tentacle software now have a copy of the WAV file from the Sound Devices recorder also embedded, ready to be selected in Multicam? Thanks for any guidance, Curtis!
It depends on the camera. If you have a camera with a dedicated timecode input, then you can just import the video and audio clips into FCPX and sync them there. If you use a camera where it only has an audio/mic input, you have to first run the video clips through the tentacle app to convert the audio to timecode. Then you can sync in FCP or in the Tentacle app. You can embed the SD track into the video clips if you want to do it that way. Usually, though, I just have the Tentacle app create an XML file, open that in FCP and everything is synced an ready to go.
@@curtisjudd Perfect, and appreciate you taking the time to answer that. I'm a "veteran" C100 MKII user, so no inbuilt time code. I agree, the second XML file > Final Cut route seems the way to go. Thanks, Curtis!
Thank you! You just saved a lot of time with my audio and video out-of-sync issue when 20 meters HDMI and USB 2.0 cables produce not lip synced feed for OBS video broadcast. Will opt for the Tentacle Sync E.
Yes, I'm into these too but they require cables and in my case I'm like nomad that never knows what setup I will have at the client side. It's been 5 years since I adventured into atomic clock synchronization and now I'm back in the same realm. There are many many options but I have to face that regardless how perfect and hi-tech I'm ready to be the customer's finances drastically keep my feet on the ground. I even contemplated to mix the Tentacle Sync E with Tascam DR-701D to sync video and audio providing the Tentacle sync signal via TC in just to keep the HW setup as versatile as possible to fit many different scenarios. Not exactly the thing they were intended for but resolves my desire to keep away from cables as not to discover the customer's operation area to be too big to cover with cables.
Hi! Thanks for the review! I really enjoy learning technology from you. Every sound guy ones upon a time in their career starts to consider synching time code. But there is a question: raw audio usually needs some further mixing (cleaning, de-essing etc) in a DAW. How do you solve that? You export video and then mix audio from it , or have to mix it right in video editing software?
You can do it either way. For longer form video, I often export an XML file from the video editing app and then use that to do the mix in a digital audio workstation app.
Do I understand correctly that on a camera without time-code, like the A7S3 / FX3, one has to sacrifice an audio channel to record time-code? Or does it work differently?
I have been using Tentacles for a long time as a sound engineer. I have 4 that I can put on all kinds of audio or video recorders and feed all these little people with the same TC. Great.The issue is that as a sound engineer, it's very often not me who syncs all this, it's more of a videographer, or an image editor, or his assistant, or someone in a production.But all these people generally haven't invested in the Tentacle system, so they don't have the "Tentacle Sync Studio" software that allows all of this to be synchronized. Because to have the software, you have to buy a license (149 €), or buy a Tentacle box that will serve as a Dongle to authorize the software.So it is quite rare that the time saving and the potential precision of this workflow is used to the full in a pro setup with sound engineers and cameramen on set and other people in post production.People in post production tend to use TC's sync tools built into their image editing software (Avid, FCPX, Premiere, DaVinci ...) which work quite well, but often do not offer the speed, flexibility and simplicity of "Tentacle Sync Studio".And that's a shame, because we're not optimizing.Me, it's been years that I annoy the staff of Tentacle so that they understand that the workflow they propose could be perfect but that it has a plug, a wall, and that they should intelligently and commercially give this software for free, as do other firms that sell hardware and associated software. (SoundDevice for instance)It is because I notice that many editors, videographer, podcaster, production company do not want to invest 149 € in "Tentacle Sync Studio", often out of laziness, or for fear of changing their habits, that the interest of using CT everywhere is reduced, or even unnecessary. I even see videographers who prefer to use the internal clocks of their cameras and my magneto to do the sync by performing a manual sync of these clocks (3, 2, 1, Top) I don't know if you see the lack of precision that it generates. Pffff ...Either the post production department would have to invest 149 € in "Tentacle Sync Studio", or Tentacle should allow it to be used for free (or cheaper, like 20 €).I said.
Thank you Curtis, your videos are awesome. I'm using the Track E with a GH5 and typically use the XLR Mod on top. So if I wanna TC Sync I'll basically lose channel 1? I've used a Sync E on other cameras and once we Jam them they can be removed.
That's correct. On other cameras where you jam sync, that can work, but most cameras drift rather quickly - within about 30 minutes. So if you want perfect sync, it is usually best to keep the timecode generator connected to the camera through the entire filming session.
Hola Judd! I’ll have a documentary shooting for 5 days. I have an F8n and DP is gonna shoot with a dslr canon. My question is, since the f8n has a tc generator, can i use just one tentacle connected to the camera or should I have two, the second one connected to my f8n? Thanks in advance!
I have a few questions. What kind of cable will you need to sync it to a smart slate and what cable to connect to one of your channels? Also, do you know which cable to plug the card to an Alexa mini?
Hi LaRana nation. It depends on the slate. I believe the Denecke DCode slate uses a 5-pin lemo. It appears that the Alexa Mini also uses a lemo cable, details here: tentaclesync.zendesk.com/hc/en-us/articles/115004210445-Arri-Alexa-Mini-and-Tentacle-Sync-Workflow
Hi Curtis, another great video! I have taken your online course already, nice one. I have a question that I have tried different ways couldn't find a good solution. When I was using Sync E to Gh5s, the Left audio channel was timecode and worked well. However the Right channel(Syne E microphone) recorded not only scratch audio but also a little bit timecode sound. Have you met this problem before? or I just did something wrong? Thank you!!!
Hi, unfortunately, this is not too uncommon. This is called crosstalk and sometimes happens, especially in consumer grade cameras. But it could possibly be the cable as well. You probably did NOT do anything wrong!
Great video! Are you able to film in 4K at 60FPS, and then have a second camera recording at 120FPS (just in case you need some slow-mo in post), or are their limitations on how many frames per second can be recorded? Obviously, slowing down a single video file will throw the sync off. For instance, the A7R IV can record 120FPS in camera however it can only output at 60FPS, so the Atomos Shogun will be a lower frame rate.
SMPTE timecode only specifies frame rates up to 30. you can try to set the frame rate on the timecode generators to 1/2 or 1/4 the camera frame rates and see how that works out. I don't have firsthand experience with that scenario.
Thank you for this Curtis. How do you know if your sound device already has an accurate timecode.? I have a Zoom H6 . Also - the sync in your vide above is continuous - what if you start and stop a camera to change batteries etc. Does it record whatever the tenticle is outputting? If so - how good does that work in the sync app? Last thing - Are you able to get the xml to import into DaVinci Resolve?
Hi Jim, thanks for the questions! The product description will be very clear that the device has a TCXO or highly accurate timecode generator. The least expensive device that has one of which I’m aware is the Zoom F4. The Zoom H series recorders do not have timecode generators. Also, devices which do have an in-built generator will have a TC sync output at the least. If you power off your camera, it will not affect an external TV generator like the Tentacle Sync E. The way it works is the timecode tone is sent continuously from the Tentacle as long as it is powered on and has been jam synced so the recorder and camera just include it when you start a new recording.
Also, yes, Resolve should be able to read the XML. I recently cancelled my subscription to Premiere so I will test that to confirm in the next couple of weeks.
Unfortunately you'd need to use one of the mic inputs to record timecode. Better yet, I'd just use a clapper board and sync in post with your editing app or invest in Pluraleyes.
Hello Curtis, I got a Nikon D3s (which has no timecode...) I would like to use this camera with the Zoom F8n field recorder. What do I need? This Tentacle device? Or do I need more?
Hi Chasjazez, You have several options - sync using your NLE's waveform sync option, plural eyes to sync in batch using waveform, or if you use timecode to sync, you'll either need to run timecode from the F8n to the mic input on the D3s constantly through the shoot or if you don't want to keep the two connected, then yes, you'll need one Tentacle Sync E plus a timecode cable to jam the Tentacle to the Zoom F8n. Best wishes!
@@curtisjudd Thanks for your wisdom! If I use a cable between the Nikon D3s and Zoom F8n, do I need some kind of dampener for the signal? Because the D3s does only have a mic preamp with three gain settings (low, normal, high) Oh, and does the Zoom F8N automatically start and stop with timecode? Or is this Camera dependant? Thanks!!
@@Chasjazzez Yes, good point and come to think of it, I don't know that I've ever seen a BNC to 3.5mm attenuator cable so that option may not be realistic. Best to invest in the Tentacle Sync E if syncing by waveform is not feasible.
Hi Curtis! What if I record in H.265 with aTSE attaches to my XT3 and want to transcode to Prores? Since it’s attached to the audio track I’m guessing it won’t matter. Any experience with this? Thanks for your time and your thoroughness in everything you produce. You provide valuable resources for this community.
Curtis, what's your process when handing out audio to your client. Do you sync this with their footage for them or do you just hand out the audio files and have them deal with the synching in post? How would they go about synching on their own if this is the case? Would they have to download the Tentacle software? Wouldn't they need our serial code for them to have access to the software? Thanks again for all your useful videos. It's very disappointing they don't have Tentacle Studio for Windows users.
Hi Victorfilm, it depends on the shoot. Usually when timecode is a requirement, the production is using a camera with a proper timecode input. In that case, the timecode is written to the metadata of each video clip, not to an audio channel like on consumer grade cameras. So in those cases, I can just hand over the audio clips and they can sync in post with any of the major NLEs including Avid, Premiere, FCPX, Resolve, etc. Though I have not encountered a circumstance yet where a production required timecode and they shot on a camera that did NOT have a dedicated timecode input, then your options would be somewhat limited. They would either need to purchase a license of Tentacle Sync Studio or you would have to do the sync for them. My friend Scott Vanderbilt mentioned to me that he has actually done that at the end of a production day - the DP provided all the video clips, Scott used Tentacle Sync Studio to sync and re-export each of the video clips. It simply re-wraps the video file with the audio from the mixer so it doesn't mess with the video clips in any way, but it does take time. I hope that helps!
Hi Curtis, I'm trying to use an on camera Deity D3 mic and use tentacle sync E. can I use a audio spliter or USB port for sync? I thought about trying the Deity D4 Duo which has an output port to see if that would work but I wanted to use a mic with a grain control. any help is MUCH APPRECIATED!
Need to understand more about the overall setup. Timecode generators generally attach to cameras and audio recorders. When you attach one to a camera, the general idea is that this camera will not record audio, just timecode.
@@curtisjudd I totally get that but I was wondering if there was a workaround. It would be great if TC was on one channel and I could attach a mic to the other channel. The Deity D4 duo has an input and output jacks so many people attach a lav mic as well. so I thought maybe I could attach a sync e but it didn't work for some reason. BUT having TC and mic seem like something many would love to have. thanks again for responding so quickly.
@@NewYorkerPEACE If the mic supports splitting channels so that its sound goes to the left channel on the camera and the external input goes to the right channel, you could probably make that work with some cartwheels in post to tell the app to read timecode from the right channel. Watch out for crosstalk, however, where the timecode will spill over into the microphone channel to some extent.
@@curtisjudd Thanks Curtis is worked. I also bought the handy cable that I thought you might want to know about by tentacle. shop.tentaclesync.com/product/tentacle-microphone-y-adapter-cable/ So this can work w on camera shotgun w only one input port.
Is there a way to sync clips, without tentacle sync studio, if you record timecode a DSLR? I know I could just sync it with a slate from the right channel, but I would rather use timecode.
BlackMagic DaVinci Resolve can convert and sync timecode recorded to an audio input. Avid Media Composer can as well. But I've found the Resolve functionality to be a little bit unreliable.
Unfortunately, the SMPTE timecode standard does not support frame rates higher than 30 FPS. You might try 30 to see if it can at least get you into the ballpark.
Thanks for making this Curtis! So I'm seeing that we only need one Tentacle Sync E running as the master slave and that can be hooked up to an A7III for example after jam syncing the Zoom F8n. That sound right?
Curtis Judd thanks ! I also found another video you did where you showed I should and could actually use the built in F8n clock and then have the tentacle synced to that. Either way, thank you !
Hey Curtis, Would you be able to sync the timecode that was sent to the GH5 with the timecode from the audio recorder without using the Tentacle software? Would Adobe Premiere be able to figure it out with its syncing options? I'd be nervous about DP'ing a shoot where I'm shooting and handing over cards at the end of the day & the editor not being able to figure it out syncing if they don't have the Tentacle software.
There are a few options. On the GH5, there is NOT a dedicated timecode input so the timecode is recorded via the microphone input as audio. So software needs to read the audio track and convert it to file timecode. Here are the options of which I am aware: 1) Editor can buy Tentacle Sync Studio. Can purchase a license or it is bundled with any of the tentacle hardware 2) Avid Media Composer can read audio timecode and convert it to file timecode and sync audio and picture. 3) DaVinci Resolve can read audio timecode and convert it to file timecode, but it isn't always great with the GH5 because the GH5 sometimes does not begin audio recording for a few frames which confuses Resolve. It only works about 50% of the time in my tests. Hopefully Blackmagic Design fixes this issue with Resolve soon. 4) Sound mixer on set could gather all of the footage and audio clips then use Tentacle Sync Studio to create an XML to pass on to the editor along with the synced files. Takes around 20 minutes at the end of a production day on a reasonably capable MacBook.
Hey Curtis can you provide the best way to sync the tentacle sync e with the zoom H6 sound recorder? Should I use the xlr input or XY Line In input? Thanks and great video.
I'd test with both. You don't need to use an XLR input for the timecode since the cable from the Tentacle to the H6 is so short. The main thing you'll want to test for is to make sure that the timecode signal doesn't bleed into any of the other channels. That can sometimes happen with less expensive recorders. I don't think it'll be an issue with the H6, but good to check.
Nice video. I bought a MixPre 3 and I am using a Nikon Z6. If I don't want to teather and hard wire the Mixpre 3 to the camera can I just buy 1 Tentacle and plug the Tentacle into the MixPre 3 to get time and then disconnect it and plug it into the mic input of my Nikon Z6? My Z6 can export timecode via HDMI. When I use my Atomos I can sync everything without a Tentacle but need to keep everything hard wired together. I am trying to sync without having to hard wire the Mixpre to the camera I want to be able to carry the Mixpre 3 in a separate bag and not have to hard wire it to the camera. Thanks
Yes, that should work but feeding audio timecode into the Z6’s mic input will not be converted by the camera, it will still just be an audio signal until you get to post production.
Hi Curtis, thanks for another great video! I'm curious though, when you drop the files into the Sync Studio app I noticed the File-TC from the sound recorder and camera A have green dots, camera B doesn't but the green dot is on Audio-TC. None of them match though, so I honestly don't understand how they sync perfectly, am I missing something?
Hi Tiago, the times you see there are the times at which the cameras/recorder were started for that take. The software then carries the time forward and finds the first place at which all of the cameras/recorders have the same time and syncs them up there. That is the beauty of timecode. You don't have to worry about that as long as the Tentacles are all first jammed and then send the timecode to each camera/recorder.
HI Curtis - thanks for your video. I am having some setup difficulties (I am new at this) - using a Zoom F8 as the TC generator. I am not seeming to be able to input to the Tentacle Sync E from the Zoom F8 TC OUT to the Sync E via the BNC cable. Also, My phone is Android Samsung S8+ and I think I am seeing that it uses a different cable to access the app? I tried Bluetooth, but all are out of sync (close, but no cigar!). So, 1) what TC settings are needed on the Zoom F8 to make a successful sync with the Tentacle Sync E? 2) Does the Android require a special cable to access the Tentacle app? Any other insights would be appreciated.
Hi William, to jam sync the Tentacle from the F8, the Tentacle needs to be in correct mode (flashing red LED) and then once it “sees” the timecode from the F8’s timecode output, the LED will flash green. Is that part working ok? As far as settings on the F8, I usually set it to free run in the timecode menu. I haven’t used the Android app as I’m on an iPhone, but you should be able to connect via Bluetooth to each of the Sync Es. If not, probably best to get in touch with their support to get that worked out. Best wishes!
Curtis - Thank you for your answer, and yes, Zoom confirmed that the Free Run Int is a good option. My issue was that I had difficulty getting the TC out of the F8 - the fix had to due with the BNC sync cable i was using (the wrong one) as not all BNC to 3.5mm cable are equal. I needed, and now have, a bi-directional C06 - Tentacle to BNC cable - 4260452431067 and syncing to the Tentacle Sync E units was a breeze. Thank you again.
Hi Curtis! I have a Zoom F4 and a Sony A7iii and I want to use timecode for my next project as the video editors don't want to spend a lot of time clap-syncing tons of clips in post. Am I correct in thinking I could use just one Tentacle box for this setup? Could I jam the Tentacle box from the Zoom F4 (master clock) and then plug the Tentacle into the mic input on my A7iii? I'm thinking this will work in my head, but where will the timecode be "written" on the Zoom F4 unit? Timecode has my tired head spinning.
Hi 1991ClarkJames, yes, that should work nicely. On the F4, timecode will be a timestamp in the metadata of each audio clip. In the camera clips, timecode will be recorded as a robotic sounding audio track. In post, the post team will need to convert the audio timecode on all of the video clips to metadata timecode using Tentacle Sync Studio or DaVinci Resolve, or Avid Media Composer. Tentacle Sync Studio works much more reliably for this than version 16 of DaVinci Resolve from the testing I've done. Best wishes!
Thanks for the video Curtis, I was considering on getting Ultra Sync One but would rather get this one. I do have a question regarding the Tenticle Sync E kit. For starters, how many of these are recommended to have, is it one per device or can I work with only one and set the time code for multiple devices?
@@wcsdiaries You need zero if you're recording audio direct to camera. But yes, if will also be recording to your audio recorder, you need one for each device which does NOT have one built in. So that is one for each camera and one for each recorder which does NOT have an in-built timecode generator. For those which do, you do not need one. However, with the Sync E, there is an advantage to having one for your recorder as well - the ability to re-jam wirelessly when needed.
So this mean I cannot record audio on the camera that is synced by Tentacle E through mic in, even when using somethinfüg like the Pana XLR adapter on the GH5 ? Thx
Correct. But when you plug the Tenatacle Sync E into the camera microphone input, timecode is recorded to the left channel and the microphone on the Sync E records scratch audio to the right channel in the video clips.
Hey Curtis, I've got an F4 and I've been thinking about getting the Tentacle Sync and I'm trying to gauge how important it is for my work. I'm wondering how much difference using the Tentacle makes compared to jamming timecode to cameras directly from the F4 using a BNC cable. Is it mainly a matter of having to jam timecode more often without something like the Tentacle? Is jamming timecode directly from the F4 just not very dependable for any length of time? A related question would be whether on a 2-camera shoot I could get away with a set of 2 tentacles (using the F4 to generate timecode again) or if for a dependable day-long sync I would need to have 3 tentacles? (phew, sorry, long question) Thanks for your thoughts!!!
Hi Dicky, the main issue is that cameras usually do not have very accurate clocks so they drift out of sync VERY quickly after jammed. That is why most location sound mixers attach the Tentacle Syncs to the cameras and leave them attached to the cameras throughout the shoot. For a two camera shoot, you could get away with 2 Tentacles - jam them to the F4 at the start, attach them to the cameras and you're good to go.
@@curtisjudd Thanks for the clarification! Do you know if the F8n's are about the same as the F4 in terms of timecode reliability or do they offer some improvement? Also are there other sync systems you know of that are good that are more affordable that I should check out?
@@dickydahl Hi again, it is my understanding that the F4 and F8 and F8n have the exact same timecode clocks. Timecode systems also has the UltraSync in about the same price range, but it doesn't come with the software like the Tentacle. You have to buy it separately: bhpho.to/2JgpBDI
I can't get it, still after watching... if i have 2 DSLRs and audio recorder, how i can sync 2 cameras and (eg.) ZOOM? I should have set of 3 TC generators, not 2 (as they sell it). Am I correct? Or in set of 2 i can only connect to either 1 DSLR and audio recorder or 1 for each DSLR.
Which ZOOM recorder do you have? If you have an F4 or F8, you just need 2 generators. If you have a ZOOM H recorder, than you also need one for the recorder, a total of 3.
If I have a tentacle connected to each of my recording devices over a multiple day shoot, do I have the freedom to turn all my recording devices on and off to conserve battery when not shooting and not effect the time code? Or do I have to re-sync the timecode on each recording device every time im going to turn on a camera and start recording?
Hey Curtis, couple of questions for you since I'm considering getting one of these (or a pair if unavoidable) 1. Is it necessary to keep the sync plugged in for the entire duration of the shoot? Or can it be detached once the shoot begins? 2. With a cam like GH5, I usually tend to mount my Rode Videomic Pro so I can have a decently usable safety track. Is there a way to use that (or any on cam mic) and the tentacle Sync with the GH5? ps. Really love your work, reviews and lessons. Thanks for the amazing thorough guidance :)
Hi Jammejay, 1) for GH5 yes. 2) the sync E has a microphone built in but it is mainly just for scratch audio. So left channel will be timecode, right channel will be Sync E mic audio. You could probably make a custom splitter cable if you know how to solder but I’ve never tried it.
Hey Janmejay, yes, it is possible. The setup you described is the exact setup that I use. On the Tentacle website, there is a Splitter Cable to connect any 3.5mm microphone (eg. the Videomic Pro) AND the Tentacle.
With the MixPre-3 (or 6) and say a Canon 70D, would I need 1 or 2 Tentacle Sync E's? I understand that the MixPre has TC, but wanted to get your input and experience being that you have used both devices.
Hi Patrick, you would need 2 Tentacles, one for the MixPre and one for the 70D. The MixPre 3 and 6 have a timecode input but no TC generator built in. Best wishes!
Hi Clayton, unfortunately this would not work. The MixPre-3 and 6 have a timecode input designed to work with the external timecode generator continuously connected through the duration of a shoot. They cannot be jam synced. So in the case of a DSLR and MixPre, one would need two Tentacle Syncs or other timecode generators. The MixPre-10T, on the other hand, does have an in-built timecode generator and you could jam sync to it and then just use one Tentacle Sync with the DSLR. I hope that clarifies. Thanks!
I just got a pair for my GH5 and URSA Pro 4.6k Combo (I'm NEW to this timecode workflow)...but I'm not using an external audio recorder. I'm running windows and having a lot of trouble with it syncing. GH5 shows a different timecode with no audio timecode, while the URSA synced perfectly to the what I saw on the app. Both Tentacle's are synced in the app. GH5 set to Mic level and URSA to line level both running 23.98 fps. I know the GH5 is supposed to supply an audio TC, but the tentacle sync app is not showing it. I had it plugged in to the DMW-XLR 1 on one channel and a shogun on channel 2. My master audio is coming off the URSA via it's XLR input with a boomed mic. When I try to sync it with adobe's multicamera, the two cameras don't sync properly and the GH5's clip is off by almost 10 or so frames. When I select "sync with timecode", it says cannot sync e clips (I only record two clips/two cameras). When I select sync with audio 1, that's when the gh5's clips are off by quite a few frames. Perhaps that has nothing to do with the tentacle sync's necesarily? But the reason I got them was to avoid this problem in multicam timelines. What I am doing wrong? I'm starting to do multicam shoots with talking heads almost everyday now and I want to figure this out to make my workflow easier. Any help would be greatly appreciated! Again, I'm a noob at this TC thing... P.S I don't know if this matters but, I have both cameras recording to an atomos (shogun on ursa via SDI and Ninja V via hdmi 2.0 [offical atomos cable]).
Hi dbVault, I'd suggest testing without the ATOMOS recorders just to narrow things down. Also, when recording timecode to the GH5, it is just going to the audio track so you'll need to use the tentacle app to convert that to metadata timecode. Good luck!
Hey Curtis! So I've had these for 8 months, and never used them. I bought them for the Netflix doc I was working on (Murder Mountain) because they requested it, but then said "Lets just sync to time of day." Anyway, I've got a gig with 2 cameras and my MixPre 10T, 3 8 hr days doing a training video with actors doing lots of takes. I'm handing the audio to the guy shooting/editing. Is there a way to batch-sync everything at once in TS Studio? It's going to be a lot of short takes. I hoped you could just dump it all into FCPX and have them line up auto-magically.
Hey Chad, good to hear from you! Yes, literally dump all the audio and video files into TS Studios, hit sync and they're all laid out on a. timeline, ready to export an XML for Premiere or Final Cut Pro.
@@ChadWork1 Hi Chad, no, not at all. You export a single XML file which the editor then imports into their editing app. The XML tells the editing app how to line up all the video and audio clips.
+FOBulous976 it will work with any app which reads audio timecode. Unfortunately there aren’t many apps which do. Fortunately, the Tentacle app is very good. DaVinci Resolve and Avid Media Composer are the two main apps that will read audio timecode. Resolve, however, is hit and miss as far as reading audio timecode.
Thank you so much for the great video Curtis !!! I am wondering if I use my zoom f8n as a master clock , can I turn off the zoom f8n during lunch break or something , am I need to re-sync all Tentacle sync units if Zoom recorder turn off for some reason ? Plus , what if the DOP changing frame rate all the time say 25 fps to 50 fps , am I need to setup all timecode units every time DOP change the frame rate ?
Hi Ming Suet, it should keep sync through lunch while the F8n is shut down, yes. You might test to confirm. Yes, when the DP changes frame rates, you will need to adjust the frame rate on all of the timecode generators - in the F8n and the Tentacles. Note that these generators do not directly support over 30p but you can test to see if using a factor of the higher framerate works - e.g., if the DP is shooting 50fps, set the timecode generators to 25fps. They won't be perfectly synced but that might get you in ballpark at least.
Hi Curtis. I tried also to use LTC on GH5, but, as I said to you, it has some issues with Resolve in that GH5 starts recording audio track after about 0.3s and Resolve gets the LTC track only if it's from the very beginning. Instead Tentacle SW gets it correctly anyway: good. But I have discovered another problem with GH5 mic input when using LTC: it has not a good separation channels! In fact if I put TC on left channel (even at very low level!) and nothing on the right one, I get TC also on right channel even if at a very low level... but it's anyway audible!! Could you test this on your GH5? I find this annoying because this way I can't use the remaining track as an audio emergency backup track... practically TC is on both channels.
Hello VideosProva, Yes, I would hope that Blackmagic would fix this issue. Resolve's ability to read audio timecode is rather spotty at the moment. Fortunately, Tentacle Sync Studio does a very nice job of not only reading audio timecode from any manuacturer's generators, but also does the sync job more quickly than Resolve so it is still very much worth doing the sync in TS Studio for my work. My GH5 did pick up a tiny bit of the timecode signal in the right channel. Good point. This is a GH5 issues and with this camera, unfortunately we cannot expect to use that scratch audio for anything more than manually syncing if necessary (which is generally fine since we have audio recorded to a proper audio recorder outside of the camera)
I’m looking to get into legal deposition recording that requires a baked in time stamp on the footage. Can this product do that with my C100mkii or 80D?
Hi Anthony. It would be up to the camera to burn in timecode and I don’t believe I know of any that do this. However, you can do this in post production with most editing apps: Final Cut Pro X and Premiere Pro and DaVinci Resolve.
Dear Curtis, after having to much trouble with unsynced clips, I will make a step forward into Timecodegenerators. Have you any experience with using the Tentacles with the DMW-XLR1E for the GH5/GH5s and the S-Series? I would like to use the Tentacle on one track and my NTG-3 on the other channel. I am not sure, if this could work. Kind Regards from Germany Bye the way: You Videos are such an inspiration for my work as a wedding filmer. Since I watch your channel, my results have become better an better.
Hi and thanks! I haven't used timecode with the XLR1E, but it should work. My only concern would be the potential for the timecode signal on one channel to bleed over into the other channel. If you can buy from a retailer which will accept returns, you could test that before committing. Best wishes!
@@curtisjudd I will test it out. I you wish, I could share my experience. One of the big advantages of my Panasonic S1, GH5, Gh5s is the possibility to use XLR with this adapter. For me as a wedding filmer, it is absolutely useful to catch great Audio. For the Ceremony I regularly use the Zoom F8. Syncing in Post with Plural Eyes is a good way, but the shorter Sequences are often a problem to sync. Best wishes from Germany
@@curtisjudd Hello Curtis, there is a way to make things working. In the Tentacleshop there is a special cable for connecting the Tentacle to XLR. This is exactly the way, I want to use it. Kind Regards Dieter
@@curtisjuddDear Curtis, I get my tentacles. Cologne is only 80 Km away from my hometown. With the XLR Adapter from Tentacle, you only get the Timecodeaudio. The Microphone-chanel doesn`t mix with the Timecodesignal. Also interesting: You can split the Timecodesignal with an XLR-Y cable from the Tentacle and transfer ist to two different cameras. I have tried it successfull to a Zoom F8 and a Gh5. The Zoom F8 and the tentacles drift within 24 hours only one frame. This is also for my workflow very nice. Best wishes from Germany. Dieter
Here's the rub... I want to record my Audio in 32 Bit Float which I first need to open in Adobe Audition so I can export it in 24 bit in order to open it in Davinci Resolve. How does this fit into the workflow? Also, Can I export the XML file into Davinchi Resolve?
Hi Mick, good news, Resolve 16.2 can read 32-bit float audio. Its only limitation is that the waveforms are rendered in the edit and firelight UI incorrectly. It is actually processing it all correctly so that's good news. I don't edit in Resolve, but I see that it has an XML import feature, and it appears to support Final Cut Pro X and 7 XML formats. You'll want to test that to confirm it works ok before embarking on a big project, but it looks promising. Best wishes!
Would this system work great even with multiple broadcast cameras? I've lost count on how many times TC was a mess since we use broadcast cameras, fs7's and mirrorless cams on gimbals. A nightmare
I bought a pair of TSE for my C300mkll and Fuji XH1, using TC generated by TSE I noticed my c300mkii TC read out in the camera is few frames off where both cameras are set to 29.97 drop frame. I was told by TS support, the timecode will drift as I need to turn off the camera every 40 minutes to 45 minutes. This really defeats the purpose for my event work on the stage, there are many time the event will be over an hours. I event try to use my c300mkii to generate the TC for both TSE but still drift. Wonder you have encounter long shoot with your camera? Thank you.
Hi Waynes World Studio, Do you have a Tentacle connected to the C300 and XH1 throughout the course of the shoot? In my tests, they had drifted only tiny portion of a frame after 8 hours.
Curtis Judd I have been doing testing by letting the c300mkii running meanwhile the XH1 camera off to save battery so I can run the long test and both TSE connected to the cameras. I’m noticing if I use the timecode from the C300mkii as the master, the TC from the C300mkii is only 1 frame off vs TSE TC during over an hour run time. Right now I’m still testing before the event this weekend. I was told by the support team to turn off the camera after 40 minutes, it does make sense. Wouldn’t you want to restart the TSE instead of turning the camera off? Thank you for your reply and always watching your video and learning so much.
I don't understand why turning off the camera would affect the timecode on the Tentacles at all. The Tentacles continue to keep time whether the camera connected to them is on or off. I also do not understand the advice to turn the camera off after 40 minutes. What is the intended purpose of turning the camera off? That should not affect timecode accuracy of the Tentacles in any way. But if you turn the Tentacles off, that can affect accuracy.
Curtis Judd I’m on the same page as you are but the support team told me to turn off the camera maybe meaning resync the TSE which makes more sense. Looks like more testing and thank you for getting back to me.
Hi Joy Joy, The XML export provides a head start on the edit by laying out all of the synced video clips on a timeline in temporal order. The media export is useful for situations where you may be the audio recordist and need to give the director files that are already synced. In many cases, they prefer to have the media already synced at the file level. Best wishes!
Curtis - a little confused as to why you would do all the work putting the time code and syncing and then when you went to make the FCPX multicam - instead of using the timecode to sync - you chose to use the audio to sync. Seems that if you didn't do all the Tenticle stuff before your import that doing that step would have gotten you to the same point without a new timecode . Especially with 2 cameras and an audio source - which is how most of us do it now. Sorry - if I am missing something. I was ex[pecting you to choose time code for the syncing.
Hi Jim, you could go either way in this case. The audio was already synced to both cameras in Tentacle Sync Studio. So you could use timecode or sync with the audio waveform. Same result since the sync already occurred in Tentacle Sync Studio.
Yeah, that is what I thought - it is not clear in the video though. So when you imported the xml a multicam timeline came in with it? I have always had pretty good luck with just audio sync in FCPX - especially when it is clean - like yours was. With a clap- the software seems to find and sync pretty easily. In your video above, it appeared like the whole Tentical sync was not connected to the second part of the video and was of little use in the syncing. I can see the use of it more so - if the main audio was no where near the camera. For example on a concert stage the sound out front is absolutely different than what you hear on the stage - especially if you are shooting close-ups of the drummer. That is where the audio sync tends to fail but the timecode would lock it in.
I use sync-n-link to sync video & sound, instead of sync in Tentacle Studio or FCP/X, so there are different options. Also use ShotNotes to sync from MovieSlate app on iPad.
Hi Jim, It also imports a timeline but stacks the tracks in sync rather than creating a proper Multicam sequence. My example was simplistic. Where the real value comes in is when I've shot 30 or 40 takes. I could just use FCPX to sync each set of clips or I could drop them all into Tentacle Sync Studio and they'd be synced far more quickly into a timeline.
Thanks for doing this video, Curtis! My current rig is an A7SII recording to an Atomos Shogun, and a Zoom H6. Going to get a pair of these to use with that setup.
You're welcome Bill! Note: I would run one tentacle into the camera rather than the Shogun directly. That should make the setup easier and shouldn't require a timing offset. If you run the Tentacle directly to the Shogun, you will probably need to apply an offset. Happy recording!
Thanks again for this video and all other, it’s really helpful for novice like me... I have couple of question, I have a C300 Mark II, a C100 Mark II & SD MixPre-6. C300 M2 has a built in TC, so I will just need two Tentacle Sync E, correct? One for SoundDevices MixPre-6 and one for C100 M2. I will set C300 M2 TC to a master clock and get the TC from it and connect one Tentacle Sync E to SD MixPre & other one to C100 M2 Second, C100 M2 can only output TC through HDMI port, what’s that mean? If I want to send TC then what do I need to do? Can I connect TS-E to 3.5” MÎC jack on C100?
Hi Saud, You'll want to test the C300's clock. I know that it has a timecode input but I believe it is normally expected to keep a timecode generator attached to it throughout the shoot as it has a tendency to drift. On the other hand, you might get lucky :) And for the C100, yes, the TS-E would go into the 3.5mm microphone input. Happy shooting and fast syncing!
No way on earth would you want to rely upon the C300 mk2 TC!! Not without an external generator attached to it. Did a shoot earlier this year with a C300 mk2, and just out of curiosity I jammed my Zoom F4 to it then disconnected. Welll... the Canon drifted so crazy badly you'd think it is the JOB of the Canon to drift! ha Very very very bad. But then again then this wasn't really a massive surprise to me, as almost always you don't want to rely upon a camera's internal TC without it being kept accurate from an external source. And yes, C100 mk2 has no way of supporting TC natively. So you'd need to use the audio track as the work around.
Thank you Sound Speed. Great information. Even though I called Canon support today and he said C300 M2 should be able to give accurate time, I didn’t feel comfortable with his answer so I was going to test myself when I get these tentacle devices. Thanks for your feedback
Hi Curtis, is it possible to use just one Tentacle Sync E and the MixPre-10T? Since the 10T has an in-built timecode generator? How would you go about using this setup to sync timecode to a Sony FS5?
Hi Lewis, yes, definitely. On the FS5, you'll need to feed the tentacle into one of the audio inputs and then in post, use the Tentacle sync Studio to convert the camera clip's audio track to file timecode.
Hello! Great video as always. I was on a shoot today and had a Tentacle going into 3.5mm mic input of a Sony A7iii. The Tentacle was taking timecode from my Mix Pre 10. The editor got back to me tonight to say the footage was 19 frames out of sync. The offset was consistent so it wasn’t a problem to correct it. But has anyone any idea what might have gone wrong? It’s the first time I’ve recorded timecode to a DSLR like that. The 25 fps frame rate was consistent across the camera, Tentacle and Mix Pre. Something simple I’m missing?
Does the Sony A7III suffer from audio latency from the 3.5mm input? That's the first idea that comes to mind if all the others were consistently in sync.
@@curtisjudd I don't know. We had our second day of shooting yesterday. I did nothing differently and this time it worked perfectly, zero frames out. It's a mystery to me!
Could you do a video overview using the UltraSync One and a MixPre 10II? Can not express hot greatly appreciative I and probably many others would be. It's a video that does not exist anywhere. Points of coverage: Changing the frame rate on the UltraSync to match the MixPre and jamming the UltraSync with the 10II being the master. And going through the menu and functionally of the UltraSync One. I realize you have your video of the Pulse and SyncBac Pro, but navigating on the USOne is confusing. It seems like videos only show using the Pulse as a master (which I don not own) and never a scenario of only having USOnes and a Sound Devices mixer. Namely the 10. Thank you.
I did figure out what mode to receive timecode from the MixPre after all but it would be nice to see an in depth look at the functionalities and navigating through it. There a lot of unfamiliar terminology written in acronyms when you navigate. The manual is pretty dense and not so easy to look up exactly what matches the questions in my mind. It also reverts back to the buttons needing to be unlocked. They don't seem to stay in unlock mode. Just hard to find particular info on these at times. Also to show doing the reverse by having the USOne be the master of the MixPre and jamming it instead. Also taking the USOne slave that has inherited the timecode and jamming it into the variety of camera that you have. But again, doing a video alongside the MixPre 10 II showing all the options of using them together doesn't exist. Thank you.
Great video! Does anybody know of a way to inject timecode into a drone, such as the DJI Mavic 2, which has no inputs ports other than a USB-C connector?
@@curtisjudd Hey Chris, so I record short motivational videos while walking my dogs as the Mavic 2 Zoom records me on Active Track. I record audio to my Android using a lapel mic and use a digital clapboard to sync the audio with the drone video. It works, but not as well as with actual timecode.
@@NickC9545 Cool! I think the drone would need a timecode input of some sort. I've never heard of a device taking timecode via USB, but it should be possible. But I doubt that DJI has implemented it. You might contact DJI support to confirm. Best wishes!
Hey Curtis- Thanks for this review. I often shoot very long performances, so synching is a big part of my job. I often use a Zoom H4n Pro for a line-out from a board, and a couple ZoomH2n's for recording room audio. Thing is, over the course of 2-3 hours, even though everything is set to 48Khz, these tracks will very gradually phase out of synch with each other, or with my cameras. Not sure why this happens. Could a device like this help with this problem? Any other thoughts or suggestions? Thanks!!
Hi Jon, no, the issue there is with the various clocks in the recorder and cameras. Genlock is what is needed there which requires cameras and recorders with Genlock inputs. That's unfortunately the domain of higher priced products in most cases.
Are you asking re: the Track E or the Sync E? Track E does not allow you to monitor while recording, unfortunately. This is presumably due to patents in the US held by Zaxcom.
You'd choose one or the other. The Tentacle Sync E also records "reference audio" through it's in-built microphone. It isn't great audio, but it complements the timecode in case something goes wrong.
@@curtisjudd They have this on their website: shop.tentaclesync.com/product/tentacle-microphone-y-adapter-cable/ I wonder how it changes the LR channels of the mic. It probably puts them all on one side?
Quick concise. No obnoxious music or unhelpful visuals. Excellent! I strive for this quality
Glad you liked it!
Hands down the single best upgrade I ever added to my setup. Shooting simultaneously with 3 cameras and 4 tracks of audio, and syncing only takes a few seconds now.
Definitely for multi-cam shoots. Happy syncing!
Probably one of the best and clearest tutorials I've ever seen. Honestly I wish this guy did every tutorial! ✅💟👍💯
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Just got my Tentacle Sync E in the mail today. I was actually surprised at how tiny it is! I was not prepared for that. I haven't recorded with it yet, but after maybe 2 minutes I figured out how to sync both units with my MixPre-10T. It's so simple. I'm really looking forward to recording the next multicamera shoot. Thanks Curtis!
Congrats on the Tentacles! You're probably already planning this but you might test ahead of time to work out any kinks and you should be good to go and have a smoother post workflow!
Curtis Judd definitely! I even want to try cheating... See if I can feed a third camera timecode from the headphone output from the other... Not ideal, but I want to see if it will work in a pinch
Hi Curtis! Finally got my pair of tentacle sync e. I am using Saramonic uv9 2 channel wireless system as a camera hub. I found very useful solutions. Sending audio from my mix pre to one channel, timecode to the 2nd channel wirelessly to all cameras. Works great and no need to have tentacle sync on each camera.
👍 clever
Yep. Another excellent and informative vid from the Curtis Judd stable!
+Tim Beaton thank you!
Great, clear explanation of time code. Something that's kind of hard to fing with this level of gear (i.e. indie filmmakers). Another winning video.
Thanks Scott!
A year later, I began using 1 sync E with a 1/8" splitter. It works great.
👍 Happy syncing!
Hey Mick can you tell me more about your setup? Am intrigued to know about this splitter
@@mattyrossfilms 2nd this
Great video! Is it possible to connect four different mic packs to one tentacle e plugging into a dslr?
No, you’d just need a Tentacle for the audio recorder and each camera.
Hi Curtis. Thank you so much for these videos! I find them to be extremely helpful when it comes to choosing a new piece of gear.
Thanks Dave!
Been waiting for this video. Thanks Curtis!
You are most welcome!
After watching many of your videos, as well as looking at the various timecode devices at B&H, I have finally settled on a pair of these (Tentacle Sync E). They arrived yesterday. So, thanks for these videos, Curtis.
Thanks RustyTube and happy recording!
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Curtis is the freaking best!!!!!,.... Please ignore the 13 thumbs down,... Those people have a tape deck in one hand and a polaroid camera in the other hand
Hahaha! Thanks Franklyn.
Hi Curtis, Will this work with a Sony A7s iii and Sony FX3? Do you recommend another product for my two cameras?
Hi Reggie, yes, it should work via the mic input.
Was waiting for the new version to be launched. Looks like a versatile and user friendly package now. Thanks for the overview Curtis! Will order a pack of 2 from the tentacle website.
Thanks and good luck!
G'day Curtis, great review.
I'm using a splitter to record LTC to the left channel and audio to the right going into a rx0 ii. The window's "Tenticle Timecode Tool" reads the LTC fine and writes the timecode to the metadata. It also mutes the timecode audio on the left channel as well. So I'm having to manually change the right side audio to both channels in prem pro when editing.
Not having a Mac, does Tentacle Sync Studio fix this issue and place the scratch audio/splitter audio onto both channels?
I don’t know but can check next time I run a scenario like that. But I’m curious, why keep the camera audio at all if the timecode works? Most consider the scratch audio from the camera a backup in case the timecode settings are bad or some other problem arises.
Hi Curtis, do you know if this comes with the BNC timecode cable for the URSA or do you have to buy that separately?
Hi Tom, good to hear from you! It comes with a 3.5mm cable only so you’ll need the 3.5mm to bnc. Got mine at B&H.
This cable in particular: bhpho.to/2AxQKd2
Hi Curtis. Great video. Thank you. I am right that if I jam-sync a timecode from the Sync E to my Sony FX6, then I don't need to keep a Sync E connected to the camera? Thanks. Gary
No, if you want accurate sync in post, cameras always need to have a timecode box attached to them throughout the entire shoot. If you just need to get in the general ballpark and are ok manually precision syncing each clip, then that should work ok.
Hi Curtis, thanks once again for your review. You seem to always have the answers I'm looking for. I like how you go into detail about how things work and what they are capable of as well as showing us how to do it as well. I was wondering if you would be able to give a tutorial/demo about how to use lectrosonic SR duel receiver with lectrosonic transmitters. at this time I've just been using Sennheiser G3 wireless systems and am looking to learn more about what the next step might be!
Thanks again for your time and videos!
Hi Guin, I have Lectrosonics wireless on the list to add to my kit. Will definitely cover them once I am able. Thanks!
Hi Curtis, for the Panasonic DVX 200 and Zoom F6 Recorder. what connector do I use? Also If I'm using the recorder with lavalier mics and want to synch that sound with my footage from my DVX is it a difficult process. Thank you so much. We have purchased equipment that you demonstrated because you make things easy to understand.
For the DVX200 there is a BNC timecode input. So you'll need a 3.5mm TRS to BNC cable for that. Then for the F6, you should be able to use the included 3.5mm cable.
Got my new set yesterday. Thanks for the demo that sold me on them.
👍 Happy syncing!
Hi Curtis, to your knowledge, should one choose to record a video using an iPhone, would it accept a mic-level signal from the Tentacle Sync in the headphone jack? Would a TRS 3.5mm cable be sufficient to carry the TC audio signal and burn it to the left channel of the video recording or would a TRRS be necessary? Have you tried to test this?
Hi Charles, phones only record mono via their 3.5mm inputs (or in the case of iPhone via its 3.5mm to lightning adapter). So a TRS to TRRS from the tentacle to phone should record the timecode but no scratch audio. Also note that phones have notoriously unreliable real-time clocks when it comes to video recording so with timecode the start of the video will be in sync with the separately recorded audio, the camera will drift quite quickly. This is not a problem if you're shooting short clips, but I've even found clips at 5 minutes are already drifting on many phones. Best wishes!
Perfect timing, just ordered a pair from B&H
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Great video, thanks! Might sound redundant but I'd like to connect a tentacle sync E to my Denecke TS-C slate. Do you think a standard 1/4" to 1/8" cable will work, or do you feel I'd need a specialized cable?
Check the pin out diagrams which both DEITY and Denecke supply.
@@curtisjudd I think I have a choice of a 5 pin lemo or 1/4” jack. Thanks!
Great video as always Curtis!
A couple questions,
Do you have to use the tentacle sync software to sync? Would you be able to just import all files to Premiere then sync via timecode?
It depends on whether your camera has a dedicated timecode input or not. If you run the tentacle into an audio input, you will need to convert that audio to timecode. You can do that with the Tentacle software. Sometimes DaVinci Resolve will do it but it isn't as reliable for me.
Nicely done, Curtis, as always. But I think you should point out to viewers that Time Code doesn't sync multiple cameras over long periods of time. This is more accurately done by Genlock, which Ambient and Timecode Systems can provide. I believe Time Code is intended to sync one sound recorder with one camera, hence the two device package from Tentacle Sync and other manufacturers.
Thanks Kent, good point regarding Genlock. I do find timecode good for clips up to about 20 minutes and with multiple cameras. But once you go much longer than that, I agree, Genlock is the technology needed. Could be a good topic for a future episode. Thanks!
Just rewatched your vid on the Ambient Nanolockit. The Tentacle Sync E is still a little less expensive. Any thoughts on usability differences?
I find the ability to change settings and monitor via the bluetooth app more important than wirelessly syncing Lockits. That may be a subjective matter, but in that light, I prefer the Sync E. Others might be more committed to wireless sync capabilities.
so for an hour set with 2 cameras maybe 3 Tenacle E may not be so reliable? using a SD mixpre 10T
I set the TC the other way around. I jam the SD 633 from the Tentacle instead of the 633 being the master clock. Then I sync the other Tentacles off the same box that jammed the mixer. Works fine, not sure if there is any drawback syncing this way.
That's a fine way to do it as well. In fact, if you have a Sync E you can leave attached to the 633 as the master clock, you can wirelessly re-jam all of the Sync Es at any time during the shoot and the 633 will be re-jammed as well.
Sorry, I asked this question before (and can’t find the answer) bought the Zoom F4 and the Two Tentacle Syncs... one goes into the F4 and the other goes into my Nikon Z6 mic - to generate a more accurate Time Code (Gerald and You mentioned some quirky connection issue?) but I need to connect the Z6 to my Atomos Ninja V recorder to get ProRes RAW...
Nikon says to set the Time Code to the (in accurate) Z6 - so i assume the Nina picks up the Time Code from the Z6 as the Video is being written to the Ninja...
Won’t the - more accurate - F4 / Tentacled Audio being created for the Z6’s Left channel be outta sync with the HDMI video/audio being transferred to the Ninja based on the Z6 clock???
Hi George, that'll require some testing to confirm. However, if you feed the tentacle to the Z6's mic input, it should be in sync. You will ignore the Z6's and ATOMOS's timecode. Hope that helps!
If I'm recording in a studio, is there a benefit to using this process over simply recording a scratch audio track on my cameras and selecting "sync to audio" in my NLE program? That's how I'm doing it now and it seems pretty simple.
I do the same as you for TH-cam videos. When I work on a narrative or commercial piece with lots of takes, that’s when timecode is helpful.
Curtis, @ 8:56 you mentioned, “For time code to work, 1)correct output level (mic for mic inputs, line for timecode inputs). Well, I use MixPre-6 Channel 1 & 2 as line level connected to DJ board for L & R and Channel 3 & 4 to mic level connected to Sony wireless system dual channel receiver(URX-P03D) transmitting audio from two lavaliere. Its all get recorded to MixPre-6 but the fact that I am getting 2 channel with line level signal and 2 channel with mic level signal in the same device, how is that going to affect in the post. Will the audio sync properly in Tentacle software? Thanks in advance!
+Saud Kazi you would set the Tentacle to line level and connect it to the aux input on the MixPre. The MixPre expects line level input for timecode via the aux input.
+Curtis Judd and to finish the thought: whether you use line or mic level input for what you are recording on the audio inputs it does not matter. Only the input receiving timecode is relevant for the level you set on the Tentacle.
Great! Thanks for your prompt response... and lastly, what about for Canon C100 M2, since I will be attaching it to mic, should it be mic or line ( Sorry if my question sound dumb)
+Saud Kazi mic level. 😀
Hi Curtis, great stuff as usual. it s so nice to have you out there supporting all of us. I have one question regarding the tentacle or I guess any sync box system. If you shut off the camera but leave the sync box on do you have to re-jam when you turn the camera back on. My feeling is the camera should just pick up the sync automatically but I need to be sure.
Thanks Terry Woolf, Western Arctic Moving Pictures.
That's correct, Terry. As long as you leave the sync box on, no need to rejam.
I'm trying to get everything clear before I purchase two tentacles to use with two cams and a SD 633 --hopefully to improve my workflow with Multicam scenarios. I understood most of your explanation, just a couple of quick questions: When you synced in FCPX, does Final Cut use the embedded time code or audio to do the sync, hopefully, the latter. Also, what happened to the SD audio track? Does each clip after processing by the Tentacle software now have a copy of the WAV file from the Sound Devices recorder also embedded, ready to be selected in Multicam? Thanks for any guidance, Curtis!
It depends on the camera. If you have a camera with a dedicated timecode input, then you can just import the video and audio clips into FCPX and sync them there. If you use a camera where it only has an audio/mic input, you have to first run the video clips through the tentacle app to convert the audio to timecode. Then you can sync in FCP or in the Tentacle app. You can embed the SD track into the video clips if you want to do it that way. Usually, though, I just have the Tentacle app create an XML file, open that in FCP and everything is synced an ready to go.
@@curtisjudd Perfect, and appreciate you taking the time to answer that. I'm a "veteran" C100 MKII user, so no inbuilt time code. I agree, the second XML file > Final Cut route seems the way to go. Thanks, Curtis!
Thank you! You just saved a lot of time with my audio and video out-of-sync issue when 20 meters HDMI and USB 2.0 cables produce not lip synced feed for OBS video broadcast. Will opt for the Tentacle Sync E.
Thanks. Genlock or wordclock might be necessary for live streaming, if that’s what you’re doing. Good luck!
Yes, I'm into these too but they require cables and in my case I'm like nomad that never knows what setup I will have at the client side. It's been 5 years since I adventured into atomic clock synchronization and now I'm back in the same realm. There are many many options but I have to face that regardless how perfect and hi-tech I'm ready to be the customer's finances drastically keep my feet on the ground. I even contemplated to mix the Tentacle Sync E with Tascam DR-701D to sync video and audio providing the Tentacle sync signal via TC in just to keep the HW setup as versatile as possible to fit many different scenarios. Not exactly the thing they were intended for but resolves my desire to keep away from cables as not to discover the customer's operation area to be too big to cover with cables.
Makes sense. Best wishes!
Another very informative video, as usual. Merci (from Paris, France)
Merci Robert!
Would this be beneficial if using 2 cameras & only 1 mic that is already plugged into A cam 3.5mm Jack?
No, you'd need that input for one of the timecode generators. Makes more sense when you're recording with a dedicated audio recorder.
Hi! Thanks for the review! I really enjoy learning technology from you.
Every sound guy ones upon a time in their career starts to consider synching time code. But there is a question: raw audio usually needs some further mixing (cleaning, de-essing etc) in a DAW. How do you solve that? You export video and then mix audio from it , or have to mix it right in video editing software?
You can do it either way. For longer form video, I often export an XML file from the video editing app and then use that to do the mix in a digital audio workstation app.
@@curtisjudd Thanks a lot! I'll try that!
Do I understand correctly that on a camera without time-code, like the A7S3 / FX3, one has to sacrifice an audio channel to record time-code? Or does it work differently?
You understand correctly.
I have been using Tentacles for a long time as a sound engineer. I have 4 that I can put on all kinds of audio or video recorders and feed all these little people with the same TC. Great.The issue is that as a sound engineer, it's very often not me who syncs all this, it's more of a videographer, or an image editor, or his assistant, or someone in a production.But all these people generally haven't invested in the Tentacle system, so they don't have the "Tentacle Sync Studio" software that allows all of this to be synchronized. Because to have the software, you have to buy a license (149 €), or buy a Tentacle box that will serve as a Dongle to authorize the software.So it is quite rare that the time saving and the potential precision of this workflow is used to the full in a pro setup with sound engineers and cameramen on set and other people in post production.People in post production tend to use TC's sync tools built into their image editing software (Avid, FCPX, Premiere, DaVinci ...) which work quite well, but often do not offer the speed, flexibility and simplicity of "Tentacle Sync Studio".And that's a shame, because we're not optimizing.Me, it's been years that I annoy the staff of Tentacle so that they understand that the workflow they propose could be perfect but that it has a plug, a wall, and that they should intelligently and commercially give this software for free, as do other firms that sell hardware and associated software. (SoundDevice for instance)It is because I notice that many editors, videographer, podcaster, production company do not want to invest 149 € in "Tentacle Sync Studio", often out of laziness, or for fear of changing their habits, that the interest of using CT everywhere is reduced, or even unnecessary. I even see videographers who prefer to use the internal clocks of their cameras and my magneto to do the sync by performing a manual sync of these clocks (3, 2, 1, Top) I don't know if you see the lack of precision that it generates. Pffff ...Either the post production department would have to invest 149 € in "Tentacle Sync Studio", or Tentacle should allow it to be used for free (or cheaper, like 20 €).I said.
You don't have to leave the same comment multiple times. Thanks for the insights.
Thank you Curtis, your videos are awesome. I'm using the Track E with a GH5 and typically use the XLR Mod on top. So if I wanna TC Sync I'll basically lose channel 1? I've used a Sync E on other cameras and once we Jam them they can be removed.
That's correct. On other cameras where you jam sync, that can work, but most cameras drift rather quickly - within about 30 minutes. So if you want perfect sync, it is usually best to keep the timecode generator connected to the camera through the entire filming session.
@@curtisjudd any experience getting them to work with a Tascam DR-70D? I have the 1/8", XLR and SDI connectors for them.
@@OldGymnastVideo I haven't specifically used the Sync E with the 70D but should work just fine. 👍
why did you sync using AUDIO instead of TIMECODE?
I converted the timecode recorded to the GH5 (which does NOT have a timecode input) to meta data timecode. Then everything sync'd via timecode.
@@curtisjudd Thank you
Hola Judd! I’ll have a documentary shooting for 5 days. I have an F8n and DP is gonna shoot with a dslr canon. My question is, since the f8n has a tc generator, can i use just one tentacle connected to the camera or should I have two, the second one connected to my f8n? Thanks in advance!
Hi Leonardo, you'll just need one for the camera. Best of luck on your shoot!
Curtis Judd you are awsome!!! Thanks!!!
I have a few questions. What kind of cable will you need to sync it to a smart slate and what cable to connect to one of your channels? Also, do you know which cable to plug the card to an Alexa mini?
Hi LaRana nation. It depends on the slate. I believe the Denecke DCode slate uses a 5-pin lemo. It appears that the Alexa Mini also uses a lemo cable, details here: tentaclesync.zendesk.com/hc/en-us/articles/115004210445-Arri-Alexa-Mini-and-Tentacle-Sync-Workflow
Hi Curtis, another great video! I have taken your online course already, nice one.
I have a question that I have tried different ways couldn't find a good solution.
When I was using Sync E to Gh5s, the Left audio channel was timecode and worked well. However the Right channel(Syne E microphone) recorded not only scratch audio but also a little bit timecode sound. Have you met this problem before? or I just did something wrong? Thank you!!!
Hi, unfortunately, this is not too uncommon. This is called crosstalk and sometimes happens, especially in consumer grade cameras. But it could possibly be the cable as well. You probably did NOT do anything wrong!
Ok Got it.
Thank you for your reply!
Great video! Are you able to film in 4K at 60FPS, and then have a second camera recording at 120FPS (just in case you need some slow-mo in post), or are their limitations on how many frames per second can be recorded? Obviously, slowing down a single video file will throw the sync off.
For instance, the A7R IV can record 120FPS in camera however it can only output at 60FPS, so the Atomos Shogun will be a lower frame rate.
SMPTE timecode only specifies frame rates up to 30. you can try to set the frame rate on the timecode generators to 1/2 or 1/4 the camera frame rates and see how that works out. I don't have firsthand experience with that scenario.
Thank you for this Curtis.
How do you know if your sound device already has an accurate timecode.? I have a Zoom H6 . Also - the sync in your vide above is continuous - what if you start and stop a camera to change batteries etc. Does it record whatever the tenticle is outputting? If so - how good does that work in the sync app? Last thing - Are you able to get the xml to import into DaVinci Resolve?
Hi Jim, thanks for the questions! The product description will be very clear that the device has a TCXO or highly accurate timecode generator. The least expensive device that has one of which I’m aware is the Zoom F4. The Zoom H series recorders do not have timecode generators. Also, devices which do have an in-built generator will have a TC sync output at the least.
If you power off your camera, it will not affect an external TV generator like the Tentacle Sync E. The way it works is the timecode tone is sent continuously from the Tentacle as long as it is powered on and has been jam synced so the recorder and camera just include it when you start a new recording.
Also, yes, Resolve should be able to read the XML. I recently cancelled my subscription to Premiere so I will test that to confirm in the next couple of weeks.
Curtis, In TASCAM DR40 how could syncronize audio with a DSRL with no Mike in but USB slot?
Unfortunately you'd need to use one of the mic inputs to record timecode. Better yet, I'd just use a clapper board and sync in post with your editing app or invest in Pluraleyes.
Hello Curtis,
I got a Nikon D3s (which has no timecode...) I would like to use this camera with the Zoom F8n field recorder. What do I need? This Tentacle device? Or do I need more?
Hi Chasjazez, You have several options - sync using your NLE's waveform sync option, plural eyes to sync in batch using waveform, or if you use timecode to sync, you'll either need to run timecode from the F8n to the mic input on the D3s constantly through the shoot or if you don't want to keep the two connected, then yes, you'll need one Tentacle Sync E plus a timecode cable to jam the Tentacle to the Zoom F8n. Best wishes!
@@curtisjudd Thanks for your wisdom! If I use a cable between the Nikon D3s and Zoom F8n, do I need some kind of dampener for the signal? Because the D3s does only have a mic preamp with three gain settings (low, normal, high)
Oh, and does the Zoom F8N automatically start and stop with timecode? Or is this Camera dependant? Thanks!!
@@Chasjazzez Yes, good point and come to think of it, I don't know that I've ever seen a BNC to 3.5mm attenuator cable so that option may not be realistic. Best to invest in the Tentacle Sync E if syncing by waveform is not feasible.
Curtis Judd I will just buy a tentacle Sync E. Again Thanks 🙏
Hi Curtis! What if I record in H.265 with aTSE attaches to my XT3 and want to transcode to Prores? Since it’s attached to the audio track I’m guessing it won’t matter. Any experience with this? Thanks for your time and your thoroughness in everything you produce. You provide valuable resources for this community.
Hey Ryan, should be fine since the audio should not shift in the transcode.
Curtis Judd thanks!
Curtis, what's your process when handing out audio to your client. Do you sync this with their footage for them or do you just hand out the audio files and have them deal with the synching in post? How would they go about synching on their own if this is the case? Would they have to download the Tentacle software? Wouldn't they need our serial code for them to have access to the software? Thanks again for all your useful videos. It's very disappointing they don't have Tentacle Studio for Windows users.
Hi Victorfilm, it depends on the shoot. Usually when timecode is a requirement, the production is using a camera with a proper timecode input. In that case, the timecode is written to the metadata of each video clip, not to an audio channel like on consumer grade cameras. So in those cases, I can just hand over the audio clips and they can sync in post with any of the major NLEs including Avid, Premiere, FCPX, Resolve, etc.
Though I have not encountered a circumstance yet where a production required timecode and they shot on a camera that did NOT have a dedicated timecode input, then your options would be somewhat limited. They would either need to purchase a license of Tentacle Sync Studio or you would have to do the sync for them. My friend Scott Vanderbilt mentioned to me that he has actually done that at the end of a production day - the DP provided all the video clips, Scott used Tentacle Sync Studio to sync and re-export each of the video clips. It simply re-wraps the video file with the audio from the mixer so it doesn't mess with the video clips in any way, but it does take time.
I hope that helps!
Awesome thank you!
Hi Curtis, I'm trying to use an on camera Deity D3 mic and use tentacle sync E. can I use a audio spliter or USB port for sync? I thought about trying the Deity D4 Duo which has an output port to see if that would work but I wanted to use a mic with a grain control. any help is MUCH APPRECIATED!
Need to understand more about the overall setup. Timecode generators generally attach to cameras and audio recorders. When you attach one to a camera, the general idea is that this camera will not record audio, just timecode.
@@curtisjudd I totally get that but I was wondering if there was a workaround. It would be great if TC was on one channel and I could attach a mic to the other channel. The Deity D4 duo has an input and output jacks so many people attach a lav mic as well. so I thought maybe I could attach a sync e but it didn't work for some reason. BUT having TC and mic seem like something many would love to have. thanks again for responding so quickly.
@@NewYorkerPEACE If the mic supports splitting channels so that its sound goes to the left channel on the camera and the external input goes to the right channel, you could probably make that work with some cartwheels in post to tell the app to read timecode from the right channel. Watch out for crosstalk, however, where the timecode will spill over into the microphone channel to some extent.
@@curtisjudd crosstalk that's very good to know. many many thanks sir
@@curtisjudd Thanks Curtis is worked. I also bought the handy cable that I thought you might want to know about by tentacle. shop.tentaclesync.com/product/tentacle-microphone-y-adapter-cable/ So this can work w on camera shotgun w only one input port.
Is there a way to sync clips, without tentacle sync studio, if you record timecode a DSLR? I know I could just sync it with a slate from the right channel, but I would rather use timecode.
BlackMagic DaVinci Resolve can convert and sync timecode recorded to an audio input. Avid Media Composer can as well. But I've found the Resolve functionality to be a little bit unreliable.
Hi i have some question about frame rate
i'm work with sony fx9 and we usually rec 60fps
which frame rate should i choose on Tentacle ?
Unfortunately, the SMPTE timecode standard does not support frame rates higher than 30 FPS. You might try 30 to see if it can at least get you into the ballpark.
Thanks for making this Curtis! So I'm seeing that we only need one Tentacle Sync E running as the master slave and that can be hooked up to an A7III for example after jam syncing the Zoom F8n. That sound right?
Yes.
Curtis Judd thanks ! I also found another video you did where you showed I should and could actually use the built in F8n clock and then have the tentacle synced to that. Either way, thank you !
@@TrinityefcLakeville 👍🏻Yep, the F8n is great in part because it has an in-built timecode get so you don't need as many external generators.
Hey Curtis,
Would you be able to sync the timecode that was sent to the GH5 with the timecode from the audio recorder without using the Tentacle software? Would Adobe Premiere be able to figure it out with its syncing options? I'd be nervous about DP'ing a shoot where I'm shooting and handing over cards at the end of the day & the editor not being able to figure it out syncing if they don't have the Tentacle software.
There are a few options. On the GH5, there is NOT a dedicated timecode input so the timecode is recorded via the microphone input as audio. So software needs to read the audio track and convert it to file timecode. Here are the options of which I am aware:
1) Editor can buy Tentacle Sync Studio. Can purchase a license or it is bundled with any of the tentacle hardware
2) Avid Media Composer can read audio timecode and convert it to file timecode and sync audio and picture.
3) DaVinci Resolve can read audio timecode and convert it to file timecode, but it isn't always great with the GH5 because the GH5 sometimes does not begin audio recording for a few frames which confuses Resolve. It only works about 50% of the time in my tests. Hopefully Blackmagic Design fixes this issue with Resolve soon.
4) Sound mixer on set could gather all of the footage and audio clips then use Tentacle Sync Studio to create an XML to pass on to the editor along with the synced files. Takes around 20 minutes at the end of a production day on a reasonably capable MacBook.
Thanks for the detailed reply Curtis - super helpful!
Hey Curtis can you provide the best way to sync the tentacle sync e with the zoom H6 sound recorder? Should I use the xlr input or XY Line In input? Thanks and great video.
I'd test with both. You don't need to use an XLR input for the timecode since the cable from the Tentacle to the H6 is so short. The main thing you'll want to test for is to make sure that the timecode signal doesn't bleed into any of the other channels. That can sometimes happen with less expensive recorders. I don't think it'll be an issue with the H6, but good to check.
Nice video. I bought a MixPre 3 and I am using a Nikon Z6. If I don't want to teather and hard wire the Mixpre 3 to the camera can I just buy 1 Tentacle and plug the Tentacle into the MixPre 3 to get time and then disconnect it and plug it into the mic input of my Nikon Z6? My Z6 can export timecode via HDMI. When I use my Atomos I can sync everything without a Tentacle but need to keep everything hard wired together.
I am trying to sync without having to hard wire the Mixpre to the camera I want to be able to carry the Mixpre 3 in a separate bag and not have to hard wire it to the camera. Thanks
Yes, that should work but feeding audio timecode into the Z6’s mic input will not be converted by the camera, it will still just be an audio signal until you get to post production.
Hi Curtis, thanks for another great video! I'm curious though, when you drop the files into the Sync Studio app I noticed the File-TC from the sound recorder and camera A have green dots, camera B doesn't but the green dot is on Audio-TC. None of them match though, so I honestly don't understand how they sync perfectly, am I missing something?
Hi Tiago, the times you see there are the times at which the cameras/recorder were started for that take. The software then carries the time forward and finds the first place at which all of the cameras/recorders have the same time and syncs them up there. That is the beauty of timecode. You don't have to worry about that as long as the Tentacles are all first jammed and then send the timecode to each camera/recorder.
HI Curtis - thanks for your video. I am having some setup difficulties (I am new at this) - using a Zoom F8 as the TC generator. I am not seeming to be able to input to the Tentacle Sync E from the Zoom F8 TC OUT to the Sync E via the BNC cable. Also, My phone is Android Samsung S8+ and I think I am seeing that it uses a different cable to access the app? I tried Bluetooth, but all are out of sync (close, but no cigar!). So, 1) what TC settings are needed on the Zoom F8 to make a successful sync with the Tentacle Sync E? 2) Does the Android require a special cable to access the Tentacle app? Any other insights would be appreciated.
Hi William, to jam sync the Tentacle from the F8, the Tentacle needs to be in correct mode (flashing red LED) and then once it “sees” the timecode from the F8’s timecode output, the LED will flash green. Is that part working ok?
As far as settings on the F8, I usually set it to free run in the timecode menu.
I haven’t used the Android app as I’m on an iPhone, but you should be able to connect via Bluetooth to each of the Sync Es. If not, probably best to get in touch with their support to get that worked out.
Best wishes!
Curtis - Thank you for your answer, and yes, Zoom confirmed that the Free Run Int is a good option. My issue was that I had difficulty getting the TC out of the F8 - the fix had to due with the BNC sync cable i was using (the wrong one) as not all BNC to 3.5mm cable are equal. I needed, and now have, a bi-directional C06 - Tentacle to BNC cable - 4260452431067 and syncing to the Tentacle Sync E units was a breeze. Thank you again.
That's good news, thanks for the update William. Happy recording!
Curtis Judd - thanks for the videos!
Hi Curtis! I have a Zoom F4 and a Sony A7iii and I want to use timecode for my next project as the video editors don't want to spend a lot of time clap-syncing tons of clips in post. Am I correct in thinking I could use just one Tentacle box for this setup? Could I jam the Tentacle box from the Zoom F4 (master clock) and then plug the Tentacle into the mic input on my A7iii? I'm thinking this will work in my head, but where will the timecode be "written" on the Zoom F4 unit? Timecode has my tired head spinning.
Hi 1991ClarkJames, yes, that should work nicely. On the F4, timecode will be a timestamp in the metadata of each audio clip. In the camera clips, timecode will be recorded as a robotic sounding audio track. In post, the post team will need to convert the audio timecode on all of the video clips to metadata timecode using Tentacle Sync Studio or DaVinci Resolve, or Avid Media Composer. Tentacle Sync Studio works much more reliably for this than version 16 of DaVinci Resolve from the testing I've done. Best wishes!
@@curtisjudd Hero 💚
Thanks for the video Curtis, I was considering on getting Ultra Sync One but would rather get this one. I do have a question regarding the Tenticle Sync E kit. For starters, how many of these are recommended to have, is it one per device or can I work with only one and set the time code for multiple devices?
Hi Alejandro, you'll need one for each camera plus one for your audio recorder if it does not have an in-built timecode generator. Best wishes!
@@curtisjudd if you are recording straight to camera do you just need 1 then?
@@wcsdiaries You need zero if you're recording audio direct to camera. But yes, if will also be recording to your audio recorder, you need one for each device which does NOT have one built in. So that is one for each camera and one for each recorder which does NOT have an in-built timecode generator. For those which do, you do not need one. However, with the Sync E, there is an advantage to having one for your recorder as well - the ability to re-jam wirelessly when needed.
So this mean I cannot record audio on the camera that is synced by Tentacle E through mic in, even when using somethinfüg like the Pana XLR adapter on the GH5 ? Thx
Correct. But when you plug the Tenatacle Sync E into the camera microphone input, timecode is recorded to the left channel and the microphone on the Sync E records scratch audio to the right channel in the video clips.
Hey Curtis, I've got an F4 and I've been thinking about getting the Tentacle Sync and I'm trying to gauge how important it is for my work. I'm wondering how much difference using the Tentacle makes compared to jamming timecode to cameras directly from the F4 using a BNC cable. Is it mainly a matter of having to jam timecode more often without something like the Tentacle? Is jamming timecode directly from the F4 just not very dependable for any length of time? A related question would be whether on a 2-camera shoot I could get away with a set of 2 tentacles (using the F4 to generate timecode again) or if for a dependable day-long sync I would need to have 3 tentacles? (phew, sorry, long question) Thanks for your thoughts!!!
Hi Dicky, the main issue is that cameras usually do not have very accurate clocks so they drift out of sync VERY quickly after jammed. That is why most location sound mixers attach the Tentacle Syncs to the cameras and leave them attached to the cameras throughout the shoot. For a two camera shoot, you could get away with 2 Tentacles - jam them to the F4 at the start, attach them to the cameras and you're good to go.
@@curtisjudd Thanks for the clarification! Do you know if the F8n's are about the same as the F4 in terms of timecode reliability or do they offer some improvement? Also are there other sync systems you know of that are good that are more affordable that I should check out?
@@dickydahl Hi again, it is my understanding that the F4 and F8 and F8n have the exact same timecode clocks. Timecode systems also has the UltraSync in about the same price range, but it doesn't come with the software like the Tentacle. You have to buy it separately: bhpho.to/2JgpBDI
I can't get it, still after watching... if i have 2 DSLRs and audio recorder, how i can sync 2 cameras and (eg.) ZOOM? I should have set of 3 TC generators, not 2 (as they sell it). Am I correct? Or in set of 2 i can only connect to either 1 DSLR and audio recorder or 1 for each DSLR.
Which ZOOM recorder do you have? If you have an F4 or F8, you just need 2 generators. If you have a ZOOM H recorder, than you also need one for the recorder, a total of 3.
@@curtisjudd ZOOM H4n, thank you for fast respond. That's what I meant. So I need total of 3x. Thank you.
Can we still jam timecode with the E's like the original Tentacles without having to keep the tentacles connected to each device?
Timecode boxes still need to be attached to cameras throughout the entire shoot.
If I have a tentacle connected to each of my recording devices over a multiple day shoot, do I have the freedom to turn all my recording devices on and off to conserve battery when not shooting and not effect the time code? Or do I have to re-sync the timecode on each recording device every time im going to turn on a camera and start recording?
As long as the recording devices are configured to receive external timecode, no, you should just be able to turn them back on when ready to record.
Hi! Some of my files will add up to 2TB so I really don’t want to import into tentacle sync studio. Should I give up?
Why not import? The app is quite fast.
Any idea how to factory reset the Tentacle Sync E? Mine won't power on anymore and I just got it today.
Not sure, but Tentacle support should be able to help.
Hey Curtis, couple of questions for you since I'm considering getting one of these (or a pair if unavoidable)
1. Is it necessary to keep the sync plugged in for the entire duration of the shoot? Or can it be detached once the shoot begins?
2. With a cam like GH5, I usually tend to mount my Rode Videomic Pro so I can have a decently usable safety track. Is there a way to use that (or any on cam mic) and the tentacle Sync with the GH5?
ps. Really love your work, reviews and lessons. Thanks for the amazing thorough guidance :)
Hi Jammejay, 1) for GH5 yes. 2) the sync E has a microphone built in but it is mainly just for scratch audio. So left channel will be timecode, right channel will be Sync E mic audio. You could probably make a custom splitter cable if you know how to solder but I’ve never tried it.
Hey Janmejay, yes, it is possible. The setup you described is the exact setup that I use. On the Tentacle website, there is a Splitter Cable to connect any 3.5mm microphone (eg. the Videomic Pro) AND the Tentacle.
With the MixPre-3 (or 6) and say a Canon 70D, would I need 1 or 2 Tentacle Sync E's? I understand that the MixPre has TC, but wanted to get your input and experience being that you have used both devices.
Hi Patrick, you would need 2 Tentacles, one for the MixPre and one for the 70D. The MixPre 3 and 6 have a timecode input but no TC generator built in. Best wishes!
Thanks, now it makes sense.
Hi Clayton, unfortunately this would not work. The MixPre-3 and 6 have a timecode input designed to work with the external timecode generator continuously connected through the duration of a shoot. They cannot be jam synced. So in the case of a DSLR and MixPre, one would need two Tentacle Syncs or other timecode generators.
The MixPre-10T, on the other hand, does have an in-built timecode generator and you could jam sync to it and then just use one Tentacle Sync with the DSLR.
I hope that clarifies. Thanks!
I just got a pair for my GH5 and URSA Pro 4.6k Combo (I'm NEW to this timecode workflow)...but I'm not using an external audio recorder. I'm running windows and having a lot of trouble with it syncing. GH5 shows a different timecode with no audio timecode, while the URSA synced perfectly to the what I saw on the app. Both Tentacle's are synced in the app. GH5 set to Mic level and URSA to line level both running 23.98 fps. I know the GH5 is supposed to supply an audio TC, but the tentacle sync app is not showing it. I had it plugged in to the DMW-XLR 1 on one channel and a shogun on channel 2. My master audio is coming off the URSA via it's XLR input with a boomed mic. When I try to sync it with adobe's multicamera, the two cameras don't sync properly and the GH5's clip is off by almost 10 or so frames. When I select "sync with timecode", it says cannot sync e clips (I only record two clips/two cameras). When I select sync with audio 1, that's when the gh5's clips are off by quite a few frames. Perhaps that has nothing to do with the tentacle sync's necesarily? But the reason I got them was to avoid this problem in multicam timelines. What I am doing wrong? I'm starting to do multicam shoots with talking heads almost everyday now and I want to figure this out to make my workflow easier. Any help would be greatly appreciated! Again, I'm a noob at this TC thing...
P.S I don't know if this matters but, I have both cameras recording to an atomos (shogun on ursa via SDI and Ninja V via hdmi 2.0 [offical atomos cable]).
Hi dbVault, I'd suggest testing without the ATOMOS recorders just to narrow things down. Also, when recording timecode to the GH5, it is just going to the audio track so you'll need to use the tentacle app to convert that to metadata timecode. Good luck!
@@curtisjudd I appreciate the response! Thank you I will try your suggestion and see if it fixes things. Keep up the great work!
Hey Curtis! So I've had these for 8 months, and never used them. I bought them for the Netflix doc I was working on (Murder Mountain) because they requested it, but then said "Lets just sync to time of day." Anyway, I've got a gig with 2 cameras and my MixPre 10T, 3 8 hr days doing a training video with actors doing lots of takes. I'm handing the audio to the guy shooting/editing. Is there a way to batch-sync everything at once in TS Studio? It's going to be a lot of short takes. I hoped you could just dump it all into FCPX and have them line up auto-magically.
Hey Chad, good to hear from you! Yes, literally dump all the audio and video files into TS Studios, hit sync and they're all laid out on a. timeline, ready to export an XML for Premiere or Final Cut Pro.
@@curtisjudd Good to know. If I have 100 takes, do I have to export 100 times, or is there also batch export?
@@ChadWork1 Hi Chad, no, not at all. You export a single XML file which the editor then imports into their editing app. The XML tells the editing app how to line up all the video and audio clips.
@@curtisjudd Sweet, that will be nice. I'm not editing the job, and they guy who is hasn't ever done timecode stuff either. Have a good one man!
Does it only work with the Tentacle Sync software? Or just any program that recognizes the TC?
+FOBulous976 it will work with any app which reads audio timecode. Unfortunately there aren’t many apps which do. Fortunately, the Tentacle app is very good.
DaVinci Resolve and Avid Media Composer are the two main apps that will read audio timecode. Resolve, however, is hit and miss as far as reading audio timecode.
Thank you so much for the great video Curtis !!! I am wondering if I use my zoom f8n as a master clock , can I turn off the zoom f8n during lunch break or something , am I need to re-sync all Tentacle sync units if Zoom recorder turn off for some reason ? Plus , what if the DOP changing frame rate all the time say 25 fps to 50 fps , am I need to setup all timecode units every time DOP change the frame rate ?
Hi Ming Suet, it should keep sync through lunch while the F8n is shut down, yes. You might test to confirm. Yes, when the DP changes frame rates, you will need to adjust the frame rate on all of the timecode generators - in the F8n and the Tentacles. Note that these generators do not directly support over 30p but you can test to see if using a factor of the higher framerate works - e.g., if the DP is shooting 50fps, set the timecode generators to 25fps. They won't be perfectly synced but that might get you in ballpark at least.
I see the specs on the TC Rates stop at 30 fps. What If I wanted to a multicam shoot at 60 fps? What am I to do then? I can't find my answers online
Set it to 1/2 the framerate you’re shooting. If you are shooting true 60fps, set it to 30 on the Sync E.
Hi Curtis.
I tried also to use LTC on GH5, but, as I said to you, it has some issues with Resolve in that GH5 starts recording audio track after about 0.3s and Resolve gets the LTC track only if it's from the very beginning. Instead Tentacle SW gets it correctly anyway: good.
But I have discovered another problem with GH5 mic input when using LTC: it has not a good separation channels!
In fact if I put TC on left channel (even at very low level!) and nothing on the right one, I get TC also on right channel even if at a very low level... but it's anyway audible!!
Could you test this on your GH5? I find this annoying because this way I can't use the remaining track as an audio emergency backup track... practically TC is on both channels.
Hello VideosProva, Yes, I would hope that Blackmagic would fix this issue. Resolve's ability to read audio timecode is rather spotty at the moment. Fortunately, Tentacle Sync Studio does a very nice job of not only reading audio timecode from any manuacturer's generators, but also does the sync job more quickly than Resolve so it is still very much worth doing the sync in TS Studio for my work.
My GH5 did pick up a tiny bit of the timecode signal in the right channel. Good point. This is a GH5 issues and with this camera, unfortunately we cannot expect to use that scratch audio for anything more than manually syncing if necessary (which is generally fine since we have audio recorded to a proper audio recorder outside of the camera)
+Curtis Judd or it might be an issue of crosstalk on the unbalanced cable.
I’m looking to get into legal deposition recording that requires a baked in time stamp on the footage. Can this product do that with my C100mkii or 80D?
Hi Anthony. It would be up to the camera to burn in timecode and I don’t believe I know of any that do this. However, you can do this in post production with most editing apps: Final Cut Pro X and Premiere Pro and DaVinci Resolve.
Dear Curtis, after having to much trouble with unsynced clips, I will make a step forward into Timecodegenerators. Have you any experience with using the Tentacles with the DMW-XLR1E for the GH5/GH5s and the S-Series? I would like to use the Tentacle on one track and my NTG-3 on the other channel. I am not sure, if this could work. Kind Regards from Germany Bye the way: You Videos are such an inspiration for my work as a wedding filmer. Since I watch your channel, my results have become better an better.
Hi and thanks! I haven't used timecode with the XLR1E, but it should work. My only concern would be the potential for the timecode signal on one channel to bleed over into the other channel. If you can buy from a retailer which will accept returns, you could test that before committing. Best wishes!
@@curtisjudd I will test it out. I you wish, I could share my experience. One of the big advantages of my Panasonic S1, GH5, Gh5s is the possibility to use XLR with this adapter. For me as a wedding filmer, it is absolutely useful to catch great Audio. For the Ceremony I regularly use the Zoom F8. Syncing in Post with Plural Eyes is a good way, but the shorter Sequences are often a problem to sync. Best wishes from Germany
@@curtisjudd Hello Curtis, there is a way to make things working. In the Tentacleshop there is a special cable for connecting the Tentacle to XLR. This is exactly the way, I want to use it. Kind Regards Dieter
@@film-manufaktur Excellent! Looking forward to hearing how it goes. Best wishes!
@@curtisjuddDear Curtis, I get my tentacles. Cologne is only 80 Km away from my hometown. With the XLR Adapter from Tentacle, you only get the Timecodeaudio. The Microphone-chanel doesn`t mix with the Timecodesignal. Also interesting: You can split the Timecodesignal with an XLR-Y cable from the Tentacle and transfer ist to two different cameras. I have tried it successfull to a Zoom F8 and a Gh5. The Zoom F8 and the tentacles drift within 24 hours only one frame. This is also for my workflow very nice. Best wishes from Germany. Dieter
Here's the rub... I want to record my Audio in 32 Bit Float which I first need to open in Adobe Audition so I can export it in 24 bit in order to open it in Davinci Resolve. How does this fit into the workflow? Also, Can I export the XML file into Davinchi Resolve?
Hi Mick, good news, Resolve 16.2 can read 32-bit float audio. Its only limitation is that the waveforms are rendered in the edit and firelight UI incorrectly. It is actually processing it all correctly so that's good news. I don't edit in Resolve, but I see that it has an XML import feature, and it appears to support Final Cut Pro X and 7 XML formats. You'll want to test that to confirm it works ok before embarking on a big project, but it looks promising. Best wishes!
Would this system work great even with multiple broadcast cameras? I've lost count on how many times TC was a mess since we use broadcast cameras, fs7's and mirrorless cams on gimbals. A nightmare
Hmm, it should - I’ve used it with an FS5, Ursa Mini Pro, and others without a problem.
Based on your knowledge of both, which would pick: the NanoLockit or the Tentacle Sync E?
Tentacle Sync E
I bought a pair of TSE for my C300mkll and Fuji XH1, using TC generated by TSE I noticed my c300mkii TC read out in the camera is few frames off where both cameras are set to 29.97 drop frame. I was told by TS support, the timecode will drift as I need to turn off the camera every 40 minutes to 45 minutes. This really defeats the purpose for my event work on the stage, there are many time the event will be over an hours. I event try to use my c300mkii to generate the TC for both TSE but still drift. Wonder you have encounter long shoot with your camera? Thank you.
Hi Waynes World Studio, Do you have a Tentacle connected to the C300 and XH1 throughout the course of the shoot? In my tests, they had drifted only tiny portion of a frame after 8 hours.
Curtis Judd I have been doing testing by letting the c300mkii running meanwhile the XH1 camera off to save battery so I can run the long test and both TSE connected to the cameras. I’m noticing if I use the timecode from the C300mkii as the master, the TC from the C300mkii is only 1 frame off vs TSE TC during over an hour run time. Right now I’m still testing before the event this weekend. I was told by the support team to turn off the camera after 40 minutes, it does make sense. Wouldn’t you want to restart the TSE instead of turning the camera off? Thank you for your reply and always watching your video and learning so much.
I don't understand why turning off the camera would affect the timecode on the Tentacles at all. The Tentacles continue to keep time whether the camera connected to them is on or off. I also do not understand the advice to turn the camera off after 40 minutes. What is the intended purpose of turning the camera off? That should not affect timecode accuracy of the Tentacles in any way. But if you turn the Tentacles off, that can affect accuracy.
Curtis Judd I’m on the same page as you are but the support team told me to turn off the camera maybe meaning resync the TSE which makes more sense. Looks like more testing and thank you for getting back to me.
Good luck!
Can this Tentacle sync, sync with the zoom F3 via bluetooth?
No, unfortunately it cannot.
OK, can somebody tell me why export XML over the media tab or vice versa?
Hi Joy Joy, The XML export provides a head start on the edit by laying out all of the synced video clips on a timeline in temporal order. The media export is useful for situations where you may be the audio recordist and need to give the director files that are already synced. In many cases, they prefer to have the media already synced at the file level. Best wishes!
Can the MixPre 6 II generate time code like the 10T?
Yes.
Curtis - a little confused as to why you would do all the work putting the time code and syncing and then when you went to make the FCPX multicam - instead of using the timecode to sync - you chose to use the audio to sync. Seems that if you didn't do all the Tenticle stuff before your import that doing that step would have gotten you to the same point without a new timecode . Especially with 2 cameras and an audio source - which is how most of us do it now. Sorry - if I am missing something. I was ex[pecting you to choose time code for the syncing.
Hi Jim, you could go either way in this case. The audio was already synced to both cameras in Tentacle Sync Studio. So you could use timecode or sync with the audio waveform. Same result since the sync already occurred in Tentacle Sync Studio.
Yeah, that is what I thought - it is not clear in the video though. So when you imported the xml a multicam timeline came in with it? I have always had pretty good luck with just audio sync in FCPX - especially when it is clean - like yours was. With a clap- the software seems to find and sync pretty easily. In your video above, it appeared like the whole Tentical sync was not connected to the second part of the video and was of little use in the syncing.
I can see the use of it more so - if the main audio was no where near the camera. For example on a concert stage the sound out front is absolutely different than what you hear on the stage - especially if you are shooting close-ups of the drummer. That is where the audio sync tends to fail but the timecode would lock it in.
I use sync-n-link to sync video & sound, instead of sync in Tentacle Studio or FCP/X, so there are different options. Also use ShotNotes to sync from MovieSlate app on iPad.
Thanks for sharing. Looks like Pluraleyes for FCPX?
Hi Jim, It also imports a timeline but stacks the tracks in sync rather than creating a proper Multicam sequence. My example was simplistic. Where the real value comes in is when I've shot 30 or 40 takes. I could just use FCPX to sync each set of clips or I could drop them all into Tentacle Sync Studio and they'd be synced far more quickly into a timeline.
Thanks for doing this video, Curtis! My current rig is an A7SII recording to an Atomos Shogun, and a Zoom H6. Going to get a pair of these to use with that setup.
You're welcome Bill! Note: I would run one tentacle into the camera rather than the Shogun directly. That should make the setup easier and shouldn't require a timing offset. If you run the Tentacle directly to the Shogun, you will probably need to apply an offset. Happy recording!
@@curtisjudd Thanks for the tip! I'll try that when I get it.
Thank you for this video. It was extraordinarily valuable. Do you have a patreon by any chance?
Thanks Matt! No Patreon but I do have online courses over at School.LearnLightAndSound.com
Thanks again for this video and all other, it’s really helpful for novice like me...
I have couple of question, I have a C300 Mark II, a C100 Mark II & SD MixPre-6.
C300 M2 has a built in TC, so I will just need two Tentacle Sync E, correct? One for SoundDevices MixPre-6 and one for C100 M2. I will set C300 M2 TC to a master clock and get the TC from it and connect one Tentacle Sync E to SD MixPre & other one to C100 M2
Second, C100 M2 can only output TC through HDMI port, what’s that mean? If I want to send TC then what do I need to do? Can I connect TS-E to 3.5” MÎC jack on C100?
Hi Saud, You'll want to test the C300's clock. I know that it has a timecode input but I believe it is normally expected to keep a timecode generator attached to it throughout the shoot as it has a tendency to drift. On the other hand, you might get lucky :)
And for the C100, yes, the TS-E would go into the 3.5mm microphone input.
Happy shooting and fast syncing!
Curtis Judd thank you for your reply. You’ve been a great help.
No way on earth would you want to rely upon the C300 mk2 TC!! Not without an external generator attached to it.
Did a shoot earlier this year with a C300 mk2, and just out of curiosity I jammed my Zoom F4 to it then disconnected.
Welll... the Canon drifted so crazy badly you'd think it is the JOB of the Canon to drift! ha
Very very very bad.
But then again then this wasn't really a massive surprise to me, as almost always you don't want to rely upon a camera's internal TC without it being kept accurate from an external source.
And yes, C100 mk2 has no way of supporting TC natively. So you'd need to use the audio track as the work around.
Thank you Sound Speed. Great information. Even though I called Canon support today and he said C300 M2 should be able to give accurate time, I didn’t feel comfortable with his answer so I was going to test myself when I get these tentacle devices. Thanks for your feedback
Hi Curtis, is it possible to use just one Tentacle Sync E and the MixPre-10T? Since the 10T has an in-built timecode generator? How would you go about using this setup to sync timecode to a Sony FS5?
Hi Lewis, yes, definitely. On the FS5, you'll need to feed the tentacle into one of the audio inputs and then in post, use the Tentacle sync Studio to convert the camera clip's audio track to file timecode.
Big thanks Curtis! Figured it out :)
my preferred timecode generator by far. bluetooth hype!!
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In LTC , what is the meaning of linear time code?
I don’t understand the question, but you can learn about SMPTE timecode over at en.m.wikipedia.org/wiki/SMPTE_timecode
Hello! Great video as always. I was on a shoot today and had a Tentacle going into 3.5mm mic input of a Sony A7iii. The Tentacle was taking timecode from my Mix Pre 10. The editor got back to me tonight to say the footage was 19 frames out of sync. The offset was consistent so it wasn’t a problem to correct it. But has anyone any idea what might have gone wrong? It’s the first time I’ve recorded timecode to a DSLR like that. The 25 fps frame rate was consistent across the camera, Tentacle and Mix Pre. Something simple I’m missing?
Does the Sony A7III suffer from audio latency from the 3.5mm input? That's the first idea that comes to mind if all the others were consistently in sync.
@@curtisjudd I don't know. We had our second day of shooting yesterday. I did nothing differently and this time it worked perfectly, zero frames out. It's a mystery to me!
@@stephenmolloy4244 Evidently it does not. Hmm, must have been something else missed...
Could you do a video overview using the UltraSync One and a MixPre 10II? Can not express hot greatly appreciative I and probably many others would be. It's a video that does not exist anywhere. Points of coverage: Changing the frame rate on the UltraSync to match the MixPre and jamming the UltraSync with the 10II being the master. And going through the menu and functionally of the UltraSync One. I realize you have your video of the Pulse and SyncBac Pro, but navigating on the USOne is confusing. It seems like videos only show using the Pulse as a master (which I don not own) and never a scenario of only having USOnes and a Sound Devices mixer. Namely the 10. Thank you.
Hi Danni. I'll see what I can do, will add it to the list. Is there a particular part of the jam sync process which isn't working for you?
I did figure out what mode to receive timecode from the MixPre after all but it would be nice to see an in depth look at the functionalities and navigating through it. There a lot of unfamiliar terminology written in acronyms when you navigate. The manual is pretty dense and not so easy to look up exactly what matches the questions in my mind. It also reverts back to the buttons needing to be unlocked. They don't seem to stay in unlock mode. Just hard to find particular info on these at times. Also to show doing the reverse by having the USOne be the master of the MixPre and jamming it instead. Also taking the USOne slave that has inherited the timecode and jamming it into the variety of camera that you have. But again, doing a video alongside the MixPre 10 II showing all the options of using them together doesn't exist. Thank you.
Ok, I’ll need to spend some time re-acquainting myself with the UltraSync when I get some time 😀
Of course and thank you. I'm very impressed with your fast responses. I'm sure you have a lot of viewers to keep up with.
Great video! Does anybody know of a way to inject timecode into a drone, such as the DJI Mavic 2, which has no inputs ports other than a USB-C connector?
No idea. Interesting idea that never occurred to me. You are looking to sync sound to drone footage? Voiceover?
@@curtisjudd Hey Chris, so I record short motivational videos while walking my dogs as the Mavic 2 Zoom records me on Active Track. I record audio to my Android using a lapel mic and use a digital clapboard to sync the audio with the drone video. It works, but not as well as with actual timecode.
@@NickC9545 Cool! I think the drone would need a timecode input of some sort. I've never heard of a device taking timecode via USB, but it should be possible. But I doubt that DJI has implemented it. You might contact DJI support to confirm. Best wishes!
Hey Curtis- Thanks for this review. I often shoot very long performances, so synching is a big part of my job. I often use a Zoom H4n Pro for a line-out from a board, and a couple ZoomH2n's for recording room audio. Thing is, over the course of 2-3 hours, even though everything is set to 48Khz, these tracks will very gradually phase out of synch with each other, or with my cameras. Not sure why this happens. Could a device like this help with this problem? Any other thoughts or suggestions? Thanks!!
Hi Jon, no, the issue there is with the various clocks in the recorder and cameras. Genlock is what is needed there which requires cameras and recorders with Genlock inputs. That's unfortunately the domain of higher priced products in most cases.
Good idea, thanks Liam.
Thanks Liam and Curtis! That's a great suggestion.
How do you monitor with headphones? (U.S. models)
Are you asking re: the Track E or the Sync E? Track E does not allow you to monitor while recording, unfortunately. This is presumably due to patents in the US held by Zaxcom.
@@curtisjudd Sorry, I thought I was commenting on your Track E video. I'll post there instead. My bad!
@@idahofallsmagazine3691 No worries. Speaks to how confusing the product naming is for Tentacle Sync products.
One thing that pops into mind: why not have a 1/2 female thread on the sync-e to attach to a rig? My small Zooms do. Velco seems...low tech.
Good idea, thanks Scott.
I mean 1/4 of course!
Very useful. Thank you!
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What do I do if I want to use a Rode mic or similar on a dslr with this plugged in?
You'd choose one or the other. The Tentacle Sync E also records "reference audio" through it's in-built microphone. It isn't great audio, but it complements the timecode in case something goes wrong.
Curtis Judd Can I use a splitter cable for the mic?
@@satinderdhindsa835 In theory, but I haven't tried it. The Sync E's in-built mic has been enough for me.
@@curtisjudd They have this on their website: shop.tentaclesync.com/product/tentacle-microphone-y-adapter-cable/
I wonder how it changes the LR channels of the mic. It probably puts them all on one side?
Timecode recorded to left channel, microphone to right is usually how it works.
well done again Curtis, can you also review the Zoom F2
Yes, I've got one on order. Thanks!
@@curtisjudd thanks