@@keith-knittel it was, thank you! I built the studio space and have been just syncing in post with a clap track, which has worked for a controlled environment, but with looking at shooting a doc style projects soon, this was very helpful to understand it all. I shoot with 3 A7s3's and this will be the win for now! Thanks again man!
Tentacle audio timecode has been working well with my GoPro Hero 9s, a Sony FDRx3000, and 3 Track E's for my fishing videos. I really enjoy making a full day of fishing with multiple devices and the audio files all syncing perfectly. It's only failed me a couple of times in years and it was probably user error more than anything. I even use a shotgun mic connected to a Track E for people who don't like to wear a lav mic while fishing.
Wow, I literally just paid about $150 for cables to use my two new Tentacle Sync's with my two Sony FX3's and now you show me that there is a cheaper cable and only requires one cable and not two bulky stupid cables flopping all over the place?! Oh, I am so hot right now, anyway, lucky for me I am still in my return window with B&H, I literally just paused this video and processed my return and also ordered two of these cheaper cables with overnight shipping! Thank you so much for this Keith, you get an automatic SUBSCRIBE for that man! 🙏 What else you got? LOL
Heres an idea, I also have both the FX6 and the FX3. I got hired to shoot an event recently and the person editing the footage claims they don't match well, stating that the colors are off. I don't see it? Can you do a video comparing log footage straight out out of camera from both and what you think about it and if they are off is there a quick fix or a lut or plug in tool that will match them up quick? 🤔
@@zariamultimedia sorry, just saw this. This is something that I've done some testing on - especially matching the FX3 and FX6. Some of this could come down to noise reduction that the FX3 automatically applies, while the FX6 you can customize. Thats been a pain in the past for me, have a video planned about those differences, as far as colors - what problems were you running into?
Preach Keith! I've been using my four Tentacles for about two years now and they have made my production life sooooo much more efficient and simple. Absolutely love them, one of my most useful and important accessories. I feed one of mine into my V1 SD Mix Pre 3 that can read TC but doesn't have a TC generator like the V2 versions. The Deity TC-1s are similar but I have had the Tentacles for years and they work great.
After getting a few cameras rolling at once, timecode has saved me so much editing time! Assembly is my most dreaded part of post production and this takes care of it completely. How do you like your mix pre 3? I've been wanting to get a more "field-ready" audio kit/bag together and I was thinking about getting that one. Looks like it fits in an audio bag perfectly. I'm using the tascam x8 in the studio settings, which is great, but for putting in an audio bag the form factor isn't quite right. I need an ultra sync blue to get timecode to my X8
@@keith-knittel I absolutely love my Mix Pre 3. The Sound Devices Mix Pre recorders are the perfect tool for video people who need to record their own audio and aren't always given the budget to hire a pro sound mixer. The MKII versions are even better. I would suggest getting the Mix Pre 6 or even the 10 II over the 3 though. Three is fine for single camera, single subject. But once you go to multiple talent on camera, you need more channels. Audio pros need the more powerful SD mixer recorders but the Mix Pres are very capable and high quality but relatively simple and easy to figure out for video people without a sound background.
great video. just saved my life!! when the cameras are powered down, and then powered back on, is timecode still synced and running?? when doing so the TC displayed on my FX6 looks good but on a Sony. a1 the TC numbers on the display monitor are different. But on the APP, timecode sync looks still good.
Such a well explained video - seen a lot of this on RUclips. Nothing compares to how well this is explained. Thank you for an very easy understanding video
Thanks so much for this tutorial, Keith. You've answered all the questions I had about the Tentacle Sync. 🐙 I have the same setup and wanted to know which timecode to buy. SOLD! 👏🏾
What an excellent breakdown of your workflow. The tips about manual vs app-based sync where helpful. The kind of details that could really help a project to flow smoothly in the edit. Well done.
Great video; I didn't realize Tentacle had cables that allowed the use of the multi-function input on the FX3. Here's my question: is the XML file import process the same with DaVinci Resolve?
Excellent video. Thanks for sharing you skill and knowledge. One question though, roughly how long would it take befre there was any noticable drift in sync on an FX30 after jam syncing and then disconnection the Track E?
Hey there, Thank you! I'm not exactly sure how long it will take to drift, but after shutting down my cameras/recorders and turning them back on after 1-2 hours, they need to be re-synced - as even a few frames off would ruin the point of timecode in post. Unfortunately, you'll have to leave the boxes attached to the camera to get consistent results
You can monitor from the app, but there is a delay and is for reference purposes - you wouldnt be able to route it to your camera audio. I like the app-based monitoring because I can use my airpods via bluetooth to monitor the audio. Less wires
Great video! You hinted at it very briefly at the end, but if using the Sony adapter for FX3/FX30, can you still use a shotgun mic in the 3.5mm port or use the audio top handle for scratch/backup audio while using the Sync E? I've watched a number of vids but still not sure about this.
Hey Keith. Quick question. How much would the timecode drift out of sync after 1 hour, if you unplug the the Tentacle Sync from a FX3? Would it only be a second or so?
After 1 hour, it would probably be more than a second. I have not tested that for a long period of time, but that would be going against the point of using time code. Removing the need to sync in post is the problem these devices are solving. And if you multiply that between multiple cameras/audio recorders over a full day, then youre not really leveraging the benefits of timecode. Can't wait for the day the timecode is just baked into cameras. They all have wifi and bluetooth these days, why not just make it a feature?? Would you be interested in a video about timecode drift? That could be an interesting video to research and make
Hello, is it possible to sync directly in Premiere? The program seems to not recognize the tentacle timecode on the video clip. But I checked with Tentacle Sync Studio and in the left channel the timecode is matching with the boom timecode...
What up my brother Keith always appreciate your wisdom. Huge favor to ask you I got invited to attend the OC auto show and was given media passes for the event. I am excited and super nervously since I dont have a nicd camera to film with. I mainly record our videos using my DJI pocket 2 and my Samsung S23 ultra. I feel like I cant show up recording with my phone and need to buy a camera. What camera would you recommend that would be great for vlogging and get good 4k videos for a good price ? I was thinking of the Sony VZ-E10 but I wasnt sure.
Yoooo! Congrats on the event gig man! What’s your budget? And do they have a budget to buy you a camera? Or rent one? If you only need a camera to film the event, you can rent a camera and will be much cheaper since you only need the camera for the event. However, if you’re looking for a camera of your own to use, knowing your budget and what you want to shoot will help! There are tons of great cameras out there right now!
thanks for sharing in detail. Have you tried different lav on track e? such as dpa, sanken or countryman's. One last thing, other than app monitoring, what other monitoring configurations are there? read a thread, track e headphone out passed through rode wireless go for monitoring option and wonder sony's uhf wireless tx/rx work as well.
I'm not much of an "audio person", so I've only used the included mic. I'd love to test out more mics in the future though. For monitoring, it depends where you get your Track E's! In the US, there is a patent (I have no idea which one) that prevents monitoring while recording, so when you record, the audio feed is turned off. You wont have that problem outside of the US though. I've honestly never even thought about using another separate wireless mic, from the mic out for monitoring haha. I have a rode go II and DJI mic, so I might try to get an EU version (I'm in the US) for my next track e and give that a shot haha. You can monitor the track e with the app through your phone. There is a delay, so it's not great but enough to check that theres not wind or clothing rustling against the mic
@@keith-knittel thanks for reply, for as I know, recent firmware update resolved monitor restriction on US version. typically some of our local tv shows use body pack recorder + wireless tx on talent quite a bit. Which recorder is backup insurance and feeding/monitoring audio directly to camera op or audio director is ideal. I haven't seen people using it with tentacle track just yet, usually sony uhf d21 to tascam dr-10c combos. I might as well get couple of track-e, been looking for decent lav mic to pair with ;)
Has anyone had a issue where the timecode took for windows errors out but the tool shows there is timecode in the audio but can’t write it to the actual video? Had this issue with a wedding I just did video for. Was the first time I used timecode.
Out of topic: It seems like there is a Velcro-ish sticker at the back of your Macbook, I suppose that is to mount an external SSD. Seems like a neat solution! what is that, may you share?
Keith, we do a ton of naming and cataloging of clips at my job in an athletic department. If I were to batch rename my clips in finder, then add descriptors in the file name, does that break the timecode link in any way? Is the information truly in the file, or does it also require me to import the Sony .xml files. Thank you!
Yooooo, good question! If you're using this setup with the tentacle sync cable and these sony cameras, the time code is embedded into the clip itself (Not only the XML). I just did a test and renamed each file on my machine after filming a clip, deleted the XML file altogether, and was still able to sync the clips in tentacle sync no problem. Also brought it into davinci resolve, and the Start and End TC values were still there.
If you have one or two cameras, you can probably get away without using timecode, but multiple cameras and mics can really benefit from timecode - the upfront cost is pretty steep, if youre charging to edit they pay for themselves pretty quickly. And I also hated assembling footage for the edit - now I can just go straight to editing. I'd think they would be easier to get in the EU - Tentacle Sync is in germany!
Thank you for sharing this. DOes the timecode follow into Proxy files? I am asking bcs my editors usually use Proxy files, so I do not have to send over huge files. Can they still use timecode for synching?
I have not tried that! I'll have to test that out with the meta data time code. If your proxy files have audio (they should), using the audio time code would work - but let me do a test with proxy files with the time code baked into the meta data instead of jam-syncing audio. My best guess would be, if your camera can read timecode it should pass that info to the proxy files - but let me do a test to make sure
@@keith-knittel Yes, I am curious about the baked in metadata for A7siii. That would be amazing to test. Thank you so much! (Just ordered the C24 cables and hoping this works hehe)
Do you know if once you pair the sync and track units, do they auto pair and sync when you turn them on again? Can you just power them up and start recording? Or do you need to use the app every time to sync everything up?
They sync to the app after pairing them automatically - but after you turn one of the boxes off, I always resync everything when turning it back on. It's a pretty quick process and if one of the boxes drifts out of sync, then your back to nudging clips around based on audio waveforms. I keep the sync e's on all day when I'm using them and turn the cameras on and off all the time. Thats not a problem. Just a problem if you turn the time code boxes on and off, or disconnect the sync e from the camera - timecode will drift out of sync then. Sorry for the long-winded answer
@@keith-knittel No I appreciate the detail, thank you. In my particular situation, a project I’m doing has the talent operating the camera and audio equipment by herself. Currently I’m using some dji mic’s and they work great, when they work lol. Occasional cutouts has me syncing again in post which is what I was avoiding moving to the wireless. The tentacle system intrigues me but adding steps of pulling out a phone every time she wants to quickly just film something seems like I might be pushing my luck with how much technology and learning I’ve stuck on her plate so far haha. She wouldn’t be able to just turn everything on and start recording?
So is there any way to have the xml it makes reference the original footage rather than making a "Original Media" bin that seems to reference some kind of different footage. Reason I am asking is I need to make proxies but it makes the sequence using the original media bin it generates not the original footage.
When it comes to making proxies with timecode, I would think you would create a timeline based on the source footage with timecode, then allow your editor to make the proxies once you have your sequence laid out via timecode? The way I'm using the tc with my sony cameras in this video bakes the tc data into the clip, so as long as your proxies arent stripping all metadata when making them - it should work just fine that way as well. If you're using audio time code, then the proxies should also have the tc on one of the audio tracks
What happens if one camera grabs some 60fps broll for a few clips and then jumps back to the regular frame rate??? This would be key for my workflow. Anyone tried this?
What is the trick to get the audio footage off the Tentacle Sync onto the computer? Do you have to remove the micro SD Card and plug into the computer? I was expecting when I plug the device into the PC it would show up as a drive. I have both Windows and Mac and it doesn't show up on either.
The Tentacle Sync does not record audio to the timecode box. The sync E only records scratch audio if youre using it via the 3.5mm jack (one channel will be scratch audio, the other channel will be time code gibberish) - the Track E records audio, and that records to the micro SD card
You can use these with the A7III, but you'll have to use the audio port for the timecode. The A7III does not support timecode in with the sony multi cable used in this video
My multiport doesn't work at all. When you connect yours, it shows EXT-LK next to your time code on the camera. And I'm in version 4.00 Mine never shows up. I followed all the steps you did. I can't find where on my FX3 to turn on the multiport to accept the connection. Have you or anyone run into this issue? Please help
@@keith-knittel Yes, I figured it out on another video.My frame rate was not set to the tentacle sync frame rate so the multi port will not work if these aren't set on the same frame rate before you connect the cable. Thank you though. Your video was very informative.😀
As of right now, no timecode metadata on the A7S III - you have to use the sync the timecode via the audio port. Maybe in a future firmware update? This seems like something they could do since the FX3 has this
Yeah, if one is set to 30, one is 24 and another is 23.976 you’ll have issues. If you have some slow motion clips that are divisible by the original frame rate, (30,60 and 120 fps footage for example) you’ll be able to use them together - but it’s a good idea to try to keep the cameras on the same frame rate for minimal issues
@@keith-knittel as long as the frame rates between cameras is the same, got it. Let’s say that’s set. What if I’m on a 24p timeline mixing in 60 and 120p footage, no issues?
My ONLY problem with the Track E is the built in battery... if they drop a AA or AAA battery version ohhh boy count me in for 5 of em... even with them but coming with a lav at $229 USD I'm willing. But damn.
They have a pretty solid battery life, and you can get a replacable battery - I like that it's an internal USBC rechargable but I understand where youre coming from. Rechargable batteries are pretty easy to come by/swap out
Must all cameras be connected simultaneously and constantly, or is it possible to use the same "synchroniser" and pass it on from camera to camera ? I know (if possible to do) this shall introduce some drift in timecodes, but it probably will be limited if we operate a re-synchronisation often... say every 10 or 15 minutes. Anyone to have a clever answer about this, or a very didactic tutorial...? That would be appreciated, a lot. ✋️🙂 As of now, my knowledge in timecoding is on par with the one I have about juggling with 12 balloons... non-existent. And I'm supposed to film concerts during the forthcoming summer, for small music bands with very limited budgets. Any trick to do this will help tremendously, so the audio/video synchronisation will become easier when editing. Because, until now... it's a nightmare ! Thank you all.
For best results, you'll need a timecode box for each camera, and leave the boxes connected for the entire shoot. After each camera has one and is connected, you leave the tentacle sync-e's on and you can turn the cameras on and off as much as you want. The camera is reading timecode from the sync e's, but if you turn off the sync-e's you'll need to resynchronize them. If you don't have the budget for timecode, you can point all cameras at the stage, start recording, then have someone clap and don't stop recording on the cameras until the show is over. Align all cameras to the clap in post and there is your low-budget sync tool. Not perfect, but it's free.
If I'm changing locations or taking an extended break during the day I tend to shut everything off or sometimes even charge batteries with the downtime. Maybe that's just me 🤷♂️
Its probably just me being a lazy ass :P hehe. It makes sense to turn everything off while not in use. I just keep it running my self. :P @@keith-knittel
I dont understand why people buy things like this device when software that syncs multiple video files through audio has existed for years! Please tell me why such a marvellous and cheap thing such as aoftware that syncs through audio was changed for using a freaking expensive device. I really want to understand! To this day i still record with multiple cameras and trow everything to the editor and put the syncing software to sync everything flawlesly in seconds.
For smaller and shorter shoots, where you can slate all cameras/audio and have a quiet room to sync the audio and video, timecode can be overkill. But for a long shoot, with multiple takes and cameras over a full day or multiple days, these things are a huge time saver when it comes to assembling video/audio. I try not to shoot weddings anymore, but if I have to shoot one, using timecode to assemble an entire day of pure chaos is magic. Theyre amazing for in the field doc work too. Thats usually a mess to assemble
![Sony FX3 / FX30 Rig with 32 Bit Float Audio?? [Zoom F3]](/img/1.gif)
This is by far one of the best explanation videos of how to get Sony's up and running with Tentacle Sync man. Thanks for going through the trenches.
Had to figure this stuff out when I first got them, figured it would be good to show the process. Glad it was helpful and thanks for the kind words!
@@keith-knittel it was, thank you! I built the studio space and have been just syncing in post with a clap track, which has worked for a controlled environment, but with looking at shooting a doc style projects soon, this was very helpful to understand it all. I shoot with 3 A7s3's and this will be the win for now! Thanks again man!
Tentacle audio timecode has been working well with my GoPro Hero 9s, a Sony FDRx3000, and 3 Track E's for my fishing videos. I really enjoy making a full day of fishing with multiple devices and the audio files all syncing perfectly. It's only failed me a couple of times in years and it was probably user error more than anything. I even use a shotgun mic connected to a Track E for people who don't like to wear a lav mic while fishing.
Wow, I literally just paid about $150 for cables to use my two new Tentacle Sync's with my two Sony FX3's and now you show me that there is a cheaper cable and only requires one cable and not two bulky stupid cables flopping all over the place?! Oh, I am so hot right now, anyway, lucky for me I am still in my return window with B&H, I literally just paused this video and processed my return and also ordered two of these cheaper cables with overnight shipping! Thank you so much for this Keith, you get an automatic SUBSCRIBE for that man! 🙏 What else you got? LOL
LOVE to hear that!! Glad to help and if you have any other video ideas for me - let me know! Ha Thanks for the support 👍
Heres an idea, I also have both the FX6 and the FX3. I got hired to shoot an event recently and the person editing the footage claims they don't match well, stating that the colors are off. I don't see it? Can you do a video comparing log footage straight out out of camera from both and what you think about it and if they are off is there a quick fix or a lut or plug in tool that will match them up quick? 🤔
@@keith-knittelwill this cable work with deity tc-1 as well?
@@zariamultimedia sorry, just saw this. This is something that I've done some testing on - especially matching the FX3 and FX6. Some of this could come down to noise reduction that the FX3 automatically applies, while the FX6 you can customize. Thats been a pain in the past for me, have a video planned about those differences, as far as colors - what problems were you running into?
@@codychoe I don't have any deity tc boxes to test this, but my initial (and completely unresearched) answer is probably not
Preach Keith! I've been using my four Tentacles for about two years now and they have made my production life sooooo much more efficient and simple. Absolutely love them, one of my most useful and important accessories. I feed one of mine into my V1 SD Mix Pre 3 that can read TC but doesn't have a TC generator like the V2 versions. The Deity TC-1s are similar but I have had the Tentacles for years and they work great.
After getting a few cameras rolling at once, timecode has saved me so much editing time! Assembly is my most dreaded part of post production and this takes care of it completely. How do you like your mix pre 3? I've been wanting to get a more "field-ready" audio kit/bag together and I was thinking about getting that one. Looks like it fits in an audio bag perfectly. I'm using the tascam x8 in the studio settings, which is great, but for putting in an audio bag the form factor isn't quite right. I need an ultra sync blue to get timecode to my X8
@@keith-knittel I absolutely love my Mix Pre 3. The Sound Devices Mix Pre recorders are the perfect tool for video people who need to record their own audio and aren't always given the budget to hire a pro sound mixer. The MKII versions are even better. I would suggest getting the Mix Pre 6 or even the 10 II over the 3 though. Three is fine for single camera, single subject. But once you go to multiple talent on camera, you need more channels.
Audio pros need the more powerful SD mixer recorders but the Mix Pres are very capable and high quality but relatively simple and easy to figure out for video people without a sound background.
great video. just saved my life!! when the cameras are powered down, and then powered back on, is timecode still synced and running?? when doing so the TC displayed on my FX6 looks good but on a Sony. a1 the TC numbers on the display monitor are different. But on the APP, timecode sync looks still good.
Such a well explained video - seen a lot of this on RUclips. Nothing compares to how well this is explained. Thank you for an very easy understanding video
Glad it was helpful and thanks for the kind words! Appreciate the feedback
Keith, this is excellent. Thank you so much.
Thanks for the kind words! 🙌
Thanks so much for this tutorial, Keith. You've answered all the questions I had about the Tentacle Sync. 🐙 I have the same setup and wanted to know which timecode to buy. SOLD! 👏🏾
Glad it was helpful - it’s saved me so much time when editing!
What an excellent breakdown of your workflow. The tips about manual vs app-based sync where helpful. The kind of details that could really help a project to flow smoothly in the edit. Well done.
Thank you can glad it was helpful! The app sync was something I was skeptical about until I tried it myself, it's much faster and easier
Great video. This is the type of content and quality that I would be willing to pay for! Thank you!
Wow, thank you for the kind words! Appreciate it!
Great video; I didn't realize Tentacle had cables that allowed the use of the multi-function input on the FX3. Here's my question: is the XML file import process the same with DaVinci Resolve?
What a great timing! Have them with me as well to test for a Series I’m shooting soon!
Awesome!! They’re total life savers! I can’t go back to shooting multi cameras/mics without them
Exactly what I was looking for. Thanks!
Excellent video. Thanks for sharing you skill and knowledge. One question though, roughly how long would it take befre there was any noticable drift in sync on an FX30 after jam syncing and then disconnection the Track E?
Hey there, Thank you! I'm not exactly sure how long it will take to drift, but after shutting down my cameras/recorders and turning them back on after 1-2 hours, they need to be re-synced - as even a few frames off would ruin the point of timecode in post. Unfortunately, you'll have to leave the boxes attached to the camera to get consistent results
I totally agree with your comment that ALL CAMERAS should be equipped with dedicated TC ports, oh how that would be awesome.
Thanks for the excellent breakdown. Is there a way to monitor audio with this setup?
You can monitor from the app, but there is a delay and is for reference purposes - you wouldnt be able to route it to your camera audio. I like the app-based monitoring because I can use my airpods via bluetooth to monitor the audio. Less wires
Great video. To the point and well done. Thanks and Subbed!
Thank you and appreciate the support! 🙌
Great video! You hinted at it very briefly at the end, but if using the Sony adapter for FX3/FX30, can you still use a shotgun mic in the 3.5mm port or use the audio top handle for scratch/backup audio while using the Sync E? I've watched a number of vids but still not sure about this.
Hey Keith. Quick question. How much would the timecode drift out of sync after 1 hour, if you unplug the the Tentacle Sync from a FX3? Would it only be a second or so?
After 1 hour, it would probably be more than a second. I have not tested that for a long period of time, but that would be going against the point of using time code. Removing the need to sync in post is the problem these devices are solving. And if you multiply that between multiple cameras/audio recorders over a full day, then youre not really leveraging the benefits of timecode. Can't wait for the day the timecode is just baked into cameras. They all have wifi and bluetooth these days, why not just make it a feature?? Would you be interested in a video about timecode drift? That could be an interesting video to research and make
Does the tentacle sync app exports the high pitch timecode audio also? If so, do you just then need to delete it premier? Thanks 🙏🏼
Hello, is it possible to sync directly in Premiere? The program seems to not recognize the tentacle timecode on the video clip. But I checked with Tentacle Sync Studio and in the left channel the timecode is matching with the boom timecode...
What up my brother Keith always appreciate your wisdom.
Huge favor to ask you I got invited to attend the OC auto show and was given media passes for the event. I am excited and super nervously since I dont have a nicd camera to film with. I mainly record our videos using my DJI pocket 2 and my Samsung S23 ultra. I feel like I cant show up recording with my phone and need to buy a camera. What camera would you recommend that would be great for vlogging and get good 4k videos for a good price ? I was thinking of the Sony VZ-E10 but I wasnt sure.
I definitely appreciate your help and advice and I knew you would be the one to ask 🙏
Yoooo! Congrats on the event gig man! What’s your budget? And do they have a budget to buy you a camera? Or rent one? If you only need a camera to film the event, you can rent a camera and will be much cheaper since you only need the camera for the event. However, if you’re looking for a camera of your own to use, knowing your budget and what you want to shoot will help! There are tons of great cameras out there right now!
Dude thank you so much
You’re welcome, glad to help!
thanks for sharing in detail. Have you tried different lav on track e? such as dpa, sanken or countryman's. One last thing, other than app monitoring, what other monitoring configurations are there? read a thread, track e headphone out passed through rode wireless go for monitoring option and wonder sony's uhf wireless tx/rx work as well.
I'm not much of an "audio person", so I've only used the included mic. I'd love to test out more mics in the future though. For monitoring, it depends where you get your Track E's! In the US, there is a patent (I have no idea which one) that prevents monitoring while recording, so when you record, the audio feed is turned off. You wont have that problem outside of the US though. I've honestly never even thought about using another separate wireless mic, from the mic out for monitoring haha. I have a rode go II and DJI mic, so I might try to get an EU version (I'm in the US) for my next track e and give that a shot haha. You can monitor the track e with the app through your phone. There is a delay, so it's not great but enough to check that theres not wind or clothing rustling against the mic
@@keith-knittel thanks for reply, for as I know, recent firmware update resolved monitor restriction on US version. typically some of our local tv shows use body pack recorder + wireless tx on talent quite a bit. Which recorder is backup insurance and feeding/monitoring audio directly to camera op or audio director is ideal.
I haven't seen people using it with tentacle track just yet, usually sony uhf d21 to tascam dr-10c combos.
I might as well get couple of track-e, been looking for decent lav mic to pair with ;)
Will tentacle’s usbC cable for the a20 work with the osmo?
So if I film with a Komodo X and two sony FX3, Would I need to buy 3 Tentacle Syncs?
Has anyone had a issue where the timecode took for windows errors out but the tool shows there is timecode in the audio but can’t write it to the actual video? Had this issue with a wedding I just did video for. Was the first time I used timecode.
Out of topic: It seems like there is a Velcro-ish sticker at the back of your Macbook, I suppose that is to mount an external SSD. Seems like a neat solution! what is that, may you share?
Yeah - search "Slip drive" on amazon. Fits a samsung SSD!
Keith, we do a ton of naming and cataloging of clips at my job in an athletic department. If I were to batch rename my clips in finder, then add descriptors in the file name, does that break the timecode link in any way? Is the information truly in the file, or does it also require me to import the Sony .xml files. Thank you!
Yooooo, good question! If you're using this setup with the tentacle sync cable and these sony cameras, the time code is embedded into the clip itself (Not only the XML). I just did a test and renamed each file on my machine after filming a clip, deleted the XML file altogether, and was still able to sync the clips in tentacle sync no problem. Also brought it into davinci resolve, and the Start and End TC values were still there.
I appreciate it! @@keith-knittel
Great job on this. I'd love to see one this good but for Canon. :)
Thank you and I would, but I don't have access to any canon cameras. Feel free to send me some, canon!!!
@@keith-knittel Or maybe you can fly to Seattle to do the vid. :)
@@f2f.photography Fly me out, canon!!! Haha
Do you think there’s any benefits to buying the new mkii vs buying the original for less? Great video btw
These are the mkii sync e's - I don't have any experience with the version 1's so I can't really comment on that. Love these ones though
Great info. The price is kinda steep though. And TrackE recorder is actually very hard to get in Europe :(.
If you have one or two cameras, you can probably get away without using timecode, but multiple cameras and mics can really benefit from timecode - the upfront cost is pretty steep, if youre charging to edit they pay for themselves pretty quickly. And I also hated assembling footage for the edit - now I can just go straight to editing. I'd think they would be easier to get in the EU - Tentacle Sync is in germany!
Thank you for sharing this. DOes the timecode follow into Proxy files? I am asking bcs my editors usually use Proxy files, so I do not have to send over huge files. Can they still use timecode for synching?
I have not tried that! I'll have to test that out with the meta data time code. If your proxy files have audio (they should), using the audio time code would work - but let me do a test with proxy files with the time code baked into the meta data instead of jam-syncing audio.
My best guess would be, if your camera can read timecode it should pass that info to the proxy files - but let me do a test to make sure
@@keith-knittel Yes, I am curious about the baked in metadata for A7siii. That would be amazing to test. Thank you so much! (Just ordered the C24 cables and hoping this works hehe)
Do you know if once you pair the sync and track units, do they auto pair and sync when you turn them on again? Can you just power them up and start recording? Or do you need to use the app every time to sync everything up?
They sync to the app after pairing them automatically - but after you turn one of the boxes off, I always resync everything when turning it back on. It's a pretty quick process and if one of the boxes drifts out of sync, then your back to nudging clips around based on audio waveforms. I keep the sync e's on all day when I'm using them and turn the cameras on and off all the time. Thats not a problem. Just a problem if you turn the time code boxes on and off, or disconnect the sync e from the camera - timecode will drift out of sync then. Sorry for the long-winded answer
@@keith-knittel No I appreciate the detail, thank you. In my particular situation, a project I’m doing has the talent operating the camera and audio equipment by herself. Currently I’m using some dji mic’s and they work great, when they work lol. Occasional cutouts has me syncing again in post which is what I was avoiding moving to the wireless. The tentacle system intrigues me but adding steps of pulling out a phone every time she wants to quickly just film something seems like I might be pushing my luck with how much technology and learning I’ve stuck on her plate so far haha. She wouldn’t be able to just turn everything on and start recording?
So is there any way to have the xml it makes reference the original footage rather than making a "Original Media" bin that seems to reference some kind of different footage. Reason I am asking is I need to make proxies but it makes the sequence using the original media bin it generates not the original footage.
When it comes to making proxies with timecode, I would think you would create a timeline based on the source footage with timecode, then allow your editor to make the proxies once you have your sequence laid out via timecode?
The way I'm using the tc with my sony cameras in this video bakes the tc data into the clip, so as long as your proxies arent stripping all metadata when making them - it should work just fine that way as well. If you're using audio time code, then the proxies should also have the tc on one of the audio tracks
What happens if one camera grabs some 60fps broll for a few clips and then jumps back to the regular frame rate??? This would be key for my workflow. Anyone tried this?
If you're on a multiple of 60fps (29.97) no problem...
What is the trick to get the audio footage off the Tentacle Sync onto the computer? Do you have to remove the micro SD Card and plug into the computer? I was expecting when I plug the device into the PC it would show up as a drive. I have both Windows and Mac and it doesn't show up on either.
The Tentacle Sync does not record audio to the timecode box. The sync E only records scratch audio if youre using it via the 3.5mm jack (one channel will be scratch audio, the other channel will be time code gibberish) - the Track E records audio, and that records to the micro SD card
Can you use this with the sony A7 iii? Thanks
You can use these with the A7III, but you'll have to use the audio port for the timecode. The A7III does not support timecode in with the sony multi cable used in this video
My multiport doesn't work at all. When you connect yours, it shows EXT-LK next to your time code on the camera. And I'm in version 4.00 Mine never shows up. I followed all the steps you did. I can't find where on my FX3 to turn on the multiport to accept the connection. Have you or anyone run into this issue? Please help
Did you setup your FX3 in the menu? Specifically, Time Code Run: Free Run
@@keith-knittel Yes, I figured it out on another video.My frame rate was not set to the tentacle sync frame rate so the multi port will not work if these aren't set on the same frame rate before you connect the cable. Thank you though. Your video was very informative.😀
@@Javier_Hernandez Gotta love technology. Glad you figured it out and your camera isn't defective
Does the sony a7siii have time code in metadata?
As of right now, no timecode metadata on the A7S III - you have to use the sync the timecode via the audio port. Maybe in a future firmware update? This seems like something they could do since the FX3 has this
I'm not getting the EXT--LK note on my screen. I've followed all the same steps.
Hey there, were you able to figure this out? You go through your menus and update the tc settings?
Are you saying that the cameras all need to be in the same frame rate or drifting will be an issue?
Yeah, if one is set to 30, one is 24 and another is 23.976 you’ll have issues. If you have some slow motion clips that are divisible by the original frame rate, (30,60 and 120 fps footage for example) you’ll be able to use them together - but it’s a good idea to try to keep the cameras on the same frame rate for minimal issues
@@keith-knittel as long as the frame rates between cameras is the same, got it. Let’s say that’s set. What if I’m on a 24p timeline mixing in 60 and 120p footage, no issues?
oh god, when will someone develop a syncing system which is frame rate agnostic???
My ONLY problem with the Track E is the built in battery... if they drop a AA or AAA battery version ohhh boy count me in for 5 of em... even with them but coming with a lav at $229 USD I'm willing. But damn.
They have a pretty solid battery life, and you can get a replacable battery - I like that it's an internal USBC rechargable but I understand where youre coming from. Rechargable batteries are pretty easy to come by/swap out
@@keith-knittel can the battery be bought on Amazon? Now I'm really curious.
@@DavidGriffin yeah, here is the listing for the Sync E replacement battery: amzn.to/3EGEIRF - I like that it has a replaceable battery for $35-$40
Must all cameras be connected simultaneously and constantly, or is it possible to use the same "synchroniser" and pass it on from camera to camera ?
I know (if possible to do) this shall introduce some drift in timecodes, but it probably will be limited if we operate a re-synchronisation often... say every 10 or 15 minutes.
Anyone to have a clever answer about this, or a very didactic tutorial...? That would be appreciated, a lot. ✋️🙂
As of now, my knowledge in timecoding is on par with the one I have about juggling with 12 balloons... non-existent.
And I'm supposed to film concerts during the forthcoming summer, for small music bands with very limited budgets. Any trick to do this will help tremendously, so the audio/video synchronisation will become easier when editing.
Because, until now... it's a nightmare !
Thank you all.
For best results, you'll need a timecode box for each camera, and leave the boxes connected for the entire shoot. After each camera has one and is connected, you leave the tentacle sync-e's on and you can turn the cameras on and off as much as you want. The camera is reading timecode from the sync e's, but if you turn off the sync-e's you'll need to resynchronize them. If you don't have the budget for timecode, you can point all cameras at the stage, start recording, then have someone clap and don't stop recording on the cameras until the show is over. Align all cameras to the clap in post and there is your low-budget sync tool. Not perfect, but it's free.
Why would you turn them off between shoots? they last around 8 hours of timecode?
If I'm changing locations or taking an extended break during the day I tend to shut everything off or sometimes even charge batteries with the downtime. Maybe that's just me 🤷♂️
Its probably just me being a lazy ass :P hehe.
It makes sense to turn everything off while not in use. I just keep it running my self. :P @@keith-knittel
Cameras don't really drift anymore.
I aint takin no chances
I dont understand why people buy things like this device when software that syncs multiple video files through audio has existed for years! Please tell me why such a marvellous and cheap thing such as aoftware that syncs through audio was changed for using a freaking expensive device. I really want to understand!
To this day i still record with multiple cameras and trow everything to the editor and put the syncing software to sync everything flawlesly in seconds.
For smaller and shorter shoots, where you can slate all cameras/audio and have a quiet room to sync the audio and video, timecode can be overkill. But for a long shoot, with multiple takes and cameras over a full day or multiple days, these things are a huge time saver when it comes to assembling video/audio. I try not to shoot weddings anymore, but if I have to shoot one, using timecode to assemble an entire day of pure chaos is magic. Theyre amazing for in the field doc work too. Thats usually a mess to assemble
So true! @@keith-knittel
If the cameras/mics are too far away. Good luck...