Setting up TIMECODE for DOCUMENTARY filmmaking | Feat: Deity TC-1
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- Опубликовано: 31 июл 2024
- Let's setup YOUR timecode system...
I use the Deity TC-1. Check them out: deitymic.com/products/tc-1-ti...
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0:00 Intro
0:33 How I implement the TC-1
0:58 Three Units - Where do they live
1:09 How I connect TC-1's to the camera
2:28 Reason 2 - The TC-1 mic is terrible
3:43 Timecode into the Ninja V
4:06 Ninja V setup for timecode
7:11 Timecode and the Zoom F6
8:20 Working with the TC-SL1
10:58 Post Production Workflow
11:43 Why Timecode is a Game-changer
12:42 Outro
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Thanks for watching!
Here are the kits we use to make stuff: kit.co/BryceFunk/studio-kit
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Instagram: / brycefunk
Website: www.highsierracollective.com
Patreon: / brycefunk
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#Timecode #Deity #TC-1 #Documentary #Filmmaking #howto #atomosninjav 
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thank you for the overwhelming amount of supportive broll to help explain.
Thank you! Honestly it is mostly to help me remember how I set my own stuff up haha!
Great Video
Glad you enjoyed it!
Is is possible to use an audio splitter on a mirrorles to have a TC1 on one end and a rode videomic on the other? and split the tracks further in post?
Initial thought is to have as safety backup and also like what you mentioned, to have the ability to add some ambience after the fact.
In theory, yes this is possible. You may need to experiment with the Y cables. The TC-1s sends timecode on the left channel - the tip of the TRS cable. So you would want a stereo break out cable - like this one below. Then you can send the Rode GO or whatever into the camera on the right signal - the sleeve. You can then further split those in post for sure! www.amazon.com/Hosa-YMM-261-Stereo-Breakout-Cable/dp/B000068O5H/ref=sr_1_5?crid=1IB28Q4SIDJEA&dib=eyJ2IjoiMSJ9.r5wIbVUI1Xjs5BlkxMVUASFbgbVQsfCkUvKZOAj4RCsqf6WuxTt3tRSPRttEpQK0GtcRODPg_UGGJ-WJq__RQNKgUXJHG4dCHXifyDIpinSKq0AfBy1nzwyUjLbebQispgQntvzEE35Hite9y5Br4syyJK02rimgUbZHmrMtDJAtQd6Wdc_58oQcpBmDrVSCfdGYgEpq3CFULMgc5DLCtwss0sqcqmTVCDkP_6g24Do.-l_uhnD0wzQzDCgDtz0mJ0sXf5IMlIrWU38JpwCqNSA&dib_tag=se&keywords=3.5mm%2By%2Bcable&qid=1709312769&sprefix=3.5mm%2By%2Bcable%2B%2Caps%2C162&sr=8-5&th=1
Last question lol how do you monitor audio on the f2?
Umm...I don't. haha. This has bitten me a few times now unfortunately, which is why I have the Deity THEOS system on preorder. I have BT and non-BT versions of the F2. The non-BT you just have to pray it's working. For the BT version, you can at least verify that sound is coming through and not clipping (yes it's 32-bit float, but if it is clipping on the meters, that means that your mic isn't properly screwed in...I'm speaking from experience.) But you can't just sit and stare at your phone the whole time.
They are great little recorders and I use them for crash mics now. But the definitely have their flaws.
Great video, thanks a lot for such valuable information. How do you sync audio from F2 with other sources?
Good question! Technically, the only way to do it “properly” is to use the Bluetooth version of the F2 and sync using a UltraSync Blue. You can sync the F2 and F6 together using the UltraSync Blue and then jam sync the Deity TC-1s to the F6’s Timecode via the I/O Jack. The UltraSync Blue is Bluetooth only and has no I/O so if you really wanted to do this “properly” or stay in the same ecosystem, you would want to go with a full UltraSync ecosystem and use the UltraSync ONE instead of the Deity TC-1 as the timecode device for your cameras - that’s just a much more expensive option but does have some benefits. I don’t do that. I generally just use DaVinci’s “auto sync audio based on waveform” or do a big clap at the start of each take. Technically, you could also send a Timecode signal into the F2 via the input and start each of your recordings with that timecode signal and use software to update the timecode in post. This really only works for short takes - < 15 minutes - as there is pretty significant drift due to the F2’s frame rate settings. Im ditching all my F2s for the Deity THEOS (if they’d ship them already). Does that answer your question?
Great, yes, fully. Thank you very much@@brycefunk
Of course! @@AlexBukharov
Does this workflow apply to the Zoom F3 also. I use the Lumix Gh6, Cannon R6, and I want to be able to sync in DaVinci, then Edit in Adobe Premiere because I use After Effects alot. Is the UltraSync One better to use in this case? Thanks in advance😊
@@terrygriffin5201 good question. The UltraSync One will probably be your best bet in this application. The issue you would run into with the TC-1 in this instance is that the UltraSync Blue and the F3 do not have timecode I/O ports, so there is no way to jam the TC-1. You can sync the UltraSync One and UltraSync Blue to one another, then use the UltraSync Blue to sync the F3 and/or F2 and use the UltraSync One to sync the cameras.
dude thank you for making this! God, no one has videos on timecode with the ninja other than photojoseph and the atomx sync is gone! I don't want to buy the atomos connect for my ninjas. So I shoot on lumix cams that have dedicated TC ports. I edit in FCP so audio timecode isnt a thing yet. How would I use the tc1 with the TC port on my camera and get timecode to the ninja? Any ideas on how to get timecode into a zoom f3? Do you need to calibrate the ninja to get the accurate frame delay before using TC? Thanks!!!!!
The Lumix should send timecode over HDMI to the Ninja. That is a pretty standard MO for most mirrorless cameras - my Nikons do it and those are potatoes haha. So you wouldn't even be working with audio timecode there - which is great! Whatever timecode you feed into the Lumix, should just get sent over HDMI and imbedded in the files metadata. You have two options for timecode to the F3 - to my understanding. You could get the UltraSync Blue; this send timecode the the F3 wirelessly. But then you're committing to the UltraSync ecosystem as there is no way to get timecode out of the F3. Or you could send an audio timecode signal into the F3 via one of the XLR ports, but then you've just turned your two track filed recorder into a one track field recorder. So the UltraSync system is kinda the way to go if you are committing to the F3.
Tentacle sync makes software that can read the audio timecode and append that to the files metadata. For Mac, you do have to pay. You do have to calibrate the Ninja, yes - probably. But if the timecode signal is coming from the camera, you may not need to. You would just need to verify that the audio recorded externally and the video are synced properly. You can do this by dropping a pen on a desk and verifying that the sound and visuals line up when the audio is synced in post.
@@brycefunk thank you so much for all of your replies! I really appreciate it! Happy to have found your channel and already subbed! I'll keep you posted. I am running a mic into the f3 and rodego ii. I am ready to move away from the go ii and get a more reliable/pro audio kit. SO i have been up and down trying to figure out what to get lol thanks man!
@@ChrisFlores22 Right on! Cheers! PS Deity just pushed back the release of the THOES to the end of October.
@@brycefunk dude, is getting the bptrx a mistake? Seems so similar to the theos but a little cheaper lol
is it even worth it for me to get ultra blue and atomos sync for my zoomf3. I have the canon r5c, c70, and canon r6. I can simply use my 3 deity tc-1 and stick with 24bit from my c70 with my sennheiser 8060. Sorry what is your opinion. get ulta blue and the atomos sync. or contiue to use my set up with 24bit. I guess spending another $400 is not a problem...but what would you do? any suggestions? or just keep my zoomf3 for creating sound effects?
It would helpful to know what type of work you're doing. If you're doing any type of sit down talking head/interview, you're going to want a dedicated audio recorder. The pre-amps on a cameras XLR are not going to provide the quality you and your client will want. If you are doing run-and-gun style filming, then you're probably fine with with just running straight into the camera.
The F3 is a really strange device to work with - if it had a dedicated timecode I/O port, it would be an incredible filed recorder. But it's timecode system isn't that great. I would say the Deity is going to be the best bet still. To use the Ultra Sync or the Ultra Sync Blue, you would be investing almost $1,000 into that system to get it to work with all your cameras and the F3 - personally, I'm not the biggest fan of that system. You can get all three Deity TC-1s and upgrade to an F6 for $1,300.
It's really up to you with how much you want to spend and what type of work you are doing; but for a system as a whole, I'm a much bigger fan of Deity. Hope that helps!
@@brycefunk The only way to sync wirelessly is to buy the ultrablue and then buy the atomos ultra sync. which comes out to around $400.... might as well just buy the f6 at that point or the mixpre3ii. I have the canon c70, r5c, and r6. I have 3 diety tc-1. my two mics are the sennheiser 8050 and 8060. I really want to put both mics to use and use 32bit in case of clipping or other errors. I want to work smarter and put all my equipment to use for podcasts, youtube, and interviews. Which 32 bit recorder would you suggest? I don't have one at this moment, but I want to be wise because somehow i am always spending $1000 every month on stuff lol. zoomf3 with another deity tc-1 (c70 would use the other mic at 24bit no 32bit), the f6, or the mixpre3ii? technically I could still get the same results with the zoomf3 if it has a wired tc-1, i would just only have 1 port for phantom power.
You would need three Ultra Sync's in order to sync all of your cameras together with the F3. If were you, I would get an F6. It is less expensive and has more inputs than the MixPre-3. Especially if you are already spending $1,000 a month on stuff and you already have the TC-1s then the F6 is the way to go.
@@brycefunk i went ahead and bought the mixpre6ii and another deity tc-1. seemed like less complications
@@noranoskyle4417 That would definitely work!