Deity TC-1 how to & overview
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- Опубликовано: 31 июл 2024
- A overview of the Deity TC-1
Instagram: deadendboredom?...
Discord: / discord
00:00 - Intro
00:06 - Whats in the box
00:20 - different kinds of TC connection
00:49 - TC-1 menus and settings
01:12 - Unlock
01:19 - Master Run - Auto Jam
01:39 - "Framerates"
02:19 - Groups
02:27 - Input / Output settings L-In L-Out A-Out
02:52 - Sync devices
03:16 - Bluetooth
03:38 - Connect Usra Mini Pro
04:06 - Connect Zoom F8n
04:40 - Connect Pocket 6K Pro
05:13 - Connect Sony A7iii
05:49 - Sync in Resolve 
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Can you generate time code on TC-1 using time of the day. Are you able to send time of the day from your phone to TC-1 or sync time of the day of the device (TC-1) with time of the day from your phone?
Yes, you can set TC as „Time of day“ via the smartphone App!
@@deadendboredom many thanks!
Very useful, thank you
Thank you for this video! I just invested into the Deity Timecode (x1) and use it to sync audio with my Zoom F6 and Canon M50.
Very well done! I just bought my Tc1, and I was convinced by them because I've read somewhere that they can also be synced with Tentacles boxes.That's quite a plus in my opinion. Thanks again.
My pleasure and you read that right. You can sync the TC-1 to any device that outputs timecode. To do this, you simply have to set the TC-1 to "L-IN" in AUTO JAM mode to receive the timecode, connect the device that outputs the timecode and then the TC-1 should have taken over the timecode. Now you can set the mode back to "L-OUT" so that the timecode is output again. I haven't tried it specifically with the Tentacle sync, but it works fine with the F8n timecode output, for example.
If i'm not mistaken, the tentacle sync has the same function and can be synchronized with another master timcecode sources as well.
@@deadendboredom yes sir, absolutely so does the tentacles as far as I know
Great video. Makes a lot of sense now! Thank you
excellent review!!!
Great videos. Thanks so much
Great job!
Thank you!
First user review of TC1 in english, and it's well made, i waited for it. Thank you very much. How do you like TC1 compare to Tentacle sync?
Thanks, you're welcome!
To be honest i would like to draw on more experience with the device for a meaningful review, for me this is more of an overview and guide. I would like to make a comparison between the TC-1 and the Tentacle Sync, especially as a comparison product in a long-term review, unfortunately I only own the TC-1. What I can tell you: I also considered the tentacle sync but preferred the TC-1 because I don't necessarily need an app here, thanks to the integrated display.
Thanks for the helpful video. Can you explain what the Ext Audio Clock Sync setting does on the F8n? I've been searching everywhere, and can't figure it out. Thanks
The manual doesn't provide much information on this, but it seems more relevant if you want to output the timecode of the F8n and use it on another device. If you're feeding timecode into the F8n, I would leave it set to 'off'.
In regard to the Sony camera or blackmagic 6k pro, if you record timecode on one channel, will the other channel provide clean audio or will the timecode noise still be there?
The Blackmagic 6K Pro has a direct timecode input with the 3.5 mm jack connection, you can easily record 2 more sound channels with the 2 XLR inputs. With the Sony, this is slightly different: the timecode is recorded on one audio channel, the other is not affected. However, the sound for the second channel comes from the internal microphone of the TC1. Only a 3.5 mm jack splitter that separates the stereo channel into two mono channels (Stereo to Mono left and right) could help here. Then you would connect the TC1 to the mono channel that has the timecode and a freely selectable external microphone to the other mono channel. In any case, the timecode noise does not bleed into the 2nd. channel.
Can you sync timecode to the Sony A7sIII and see it synced on the display? Also, can you unplug the Deity TC-1 out of the sony and still have its timecode synced? Or thats only going to work on the blackmagics?
The a7siii does not have a dedicated timecode input, it stores the timecode on the audio channel just like the a7iii. However, this also means that the timecode is not directly visible, but is only generated in post-production based on the audio track. This method is virtually a workaround for cameras that do not have direct timecode input.
The TC-1 must remain permanently connected to the camera using this solution.
Great video! Just the one i needed to understand some things
If you allow me one question please. Do you think you could do the same but instead using the Zoom FN8 could be use the Rodecaster Pro 2?
Thanks in advance and sorry for my English; I'm still learning
Have a Productive and Healthy Day!
That's an interesting question. In theory it should work, but only via detours because it doesn't have dedicated timecode input and I wonder what your planned setup with the Rodecaster pro 2 looks like. Since the RodeCaster is basically a multi-track recorder, you can theoretically record the TC-1 on one of the audio channels and then synchronize the recording to other Material with Timecode. To do this, you would have to activate "multitrack recording" to SD Card in the settings of the rodecaster and set it to "pre fader" so that you can quiet the fader for the timecode, but the recording includes the sound.
As I said, that's the theory. Even if it works, it is not an elegant solution, because its workflow, for example, is not made for film sound like the F8n is.
Can you explain your plan a bit and why you want to use the rodecasters as a recording device?
@@deadendboredom Thank you so much for taking the time to answer my question!
My plan is to make live streams and training videos for my clients.
I would like to have 3 camera angles and for the audio the RCP2 is the perfect solution (more than just a recording device) because it let me have live guests, incoming calls, etc
I'm kind of new in this video/audio world and the TC-1 looks like a simple solution to sync everything in Resolve. That's why i asked you about your video
For the cameras set up I'm planning to use BMD cameras beause it can be controled with one ATEM unit. Maybe a 6K Pro and a couple of Broadcast G2? Haven't decide that yet
@@freddymiguelponce In the event that you make live streams or record training videos live, synchronization is not necessary, as everything runs together via ATEM anyway. The RCP2 should be quite optimal for this.
I don't have the RCP2 here and can't test it accordingly, but I'm afraid there might be a logical problem if you don't want to record/cut/mix it live.
The timecode that must be recorded in a audio track is an audible audio signal. The RCP2 seems to have two recording modes: pre fader (before all effects and faders) or post fader (after all effects and faders). So if you don't want to hear the timecode permanently, you have to pull down the volume of the audio track. In order for it to still be recorded, you would have to record "pre fader", which means that you will not be able to use all the great effects. The most sensible and easiest way sounds to me that you cut, mix and record everything live with the ATEM and RCP2. This keeps your post-processing workload small and at the same time saves a lot of hard disk space. If not, I can very well imagine that it is much easier and cheaper to synchronize image and sound based on the waveform, that is the normal sound.
By the way, as far as the black magic cameras are concerned, I would consider again whether you can really do without autofocus. And keep in mind that the Brodcast G2 only has SDI output and the 6K Pro only has HDMI (Depending on which ATEM you want to use)
I know this is not a particularly satisfactory answer, but I see various problems with the setup, depending on how you would like to use it. Maybe it's also advisable not to buy a gigantic and expensive setup directly if you tend to be new to the area, with something like that you can easily get lost.
So can I "update timecode from audio track", export that clip, and bring it into premiere?
Unfortunately, that’s not possible. After export, the clip has the timecode of the timeline and not that of the individual clips. And even if possible, I would not recommend converting the material several times for quality reasons.
Does Premiere itself have no function to use the timecode from the audio?
A workaround (which is not very elegant): synchronize everything in Resolve and open the XML of it in Premiere.
I have also seen that Tentacle, for example, has software that is only used to synchronize the entire material and create a timeline, which can then be opened in Premiere.
I'm guessing it would work the same on The Sony A7. that is the 1st A7 not the III?
Exactly, it would also work on the A7 via the audio channel, just like the A7iii
Recorded using Fujifilm cameras X-H2S and X-T4 connected to TC-1.
However, the right channel of the recorded audio also has some timecode signal sound mixed in.
I was using proper TRS to TRS. The results are the same for both cables made by RODE and DIETY.
Are there any effective improvements?
That's very strange and extremely interesting. I could have sworn that when I conducted the test via the audio channel (with the A7iii), one channel had the timecode and the other channel had the sound from the TC-1's built-in microphone. I just tried it again on different cameras, and indeed, on the second channel, there was a faint timecode noise and no scratch microphone sound at all. I can't explain it right now.
I'm trying to remember if there has been a firmware update since then that could „explain“ this behavior.
Thank you for your reply!
That's right, there is a slight but clearly audible timecode noise on channel 2.
This phenomenon does not only occur with my camera.@@deadendboredom
@@jet-ichiro I've found the "issue" and why I remember that it used to work before! In the TC-1, you have to set the output to A-Out, then there's only timecode on one channel and the microphone on the other. The L-out mode is intended for a camera with timecode input.
@@deadendboredom Thanks for your comment!
Yes, I also set the TC-1 to Audio-TC.
So, when I verified it in various ways, I turned off the audio setting item in the camera of the FUJIFILM X series, "Wind Filter", and the contamination on the right channel has been considerably reduced.
However, if you raise the microphone gain, you will hear the timecode signal sound in the right channel.
It is not possible to judge whether the left channel and the right channel interfere with each other whether it is a problem on the camera or the TC-1, but it can be used for the time being because it is reduced by turning off the previous settings.
Thank you for various verification and advice!
Hi there and thank you for the targeted review of the actual workflow.
I am awaiting my TC-1 3-kit to connect it with my mirrorless Lumix S5IIX, external recorder Tascam X8, Deity Theos UHF 2-channel, Audio Technica AT4053b with XLR into X8 (I need the 32bit/192Khz recording). Also purchased the Lumix S5IIX's DMW-XLR1 audio interface, in order to get 4-audio channels (.mov video file) baked into the video itself.
The channels are: 1+2 via XLR is the 2x Deity Theos' Lavs, 3rd channel the Line-Out from X8 transmitted wirelessly and the 4th channel the TC-1 Timecode audio signal.
I am using Davinci Resolve Studio and I need an answer because I am new to this timecode workflow.
The pencil condenser XLR 48V mic will be connected via XLR cable onto Tascam X8 to record 32bit/192Hz sound and the Line-Output of X8 will be send wirelessly to the Lumix S5IIX's DMW-XLR1, for 4-channel audio into .mov file. The question is about the proper connection setup/workflow to achieve synced audio with a timecode channel baked into the final video file.
Deity D2RX (stereo receiver) will be connected via 2* XLR-Link cables to DMW-XLR1, and via 3.5mm jack the wireless Line-out Signal from Tascam X8 and the 4th channel (Right Stereo) for timecode signal of TC-1.
My questions are:
1. Do you leave the limiter on? Wouldn’t that lead to a reduction in the volume of the LTC signal when the other channel receives a very loud noise?
2. Should I use DF or non DF timecode for the LUMIX? When I input files into DaVinci Resolve the clips show up as DF. I am however not sure if this is due to my in camera TC settings.
3. If I connect the Panasonic DMW-XLR1 XLR Microphone Adaptor in S5IIX's hotshoe (which allows the recording of 4 audio channels at once with .mov), what is the ideal setup to get a 3rd channel from a mixer and the 4th to dedicate it for LTC signal?
4. Can we disable the scratch audio from the internal TC-1 omni mic, to free up the other stereo channel for an incoming 3rd channel from Tascam X8 (wired or wirelessly for Line-out) as described above? Or do I need to manually remove the scratch audio channel, hijacking it via a Stereo signal splitter, which will feed another (same) second cable? See the link for the specific cable. When I bring the recorded tracks from X8, will it work as you demonstrated in Resolve via "update Timecode from audio track"? Because I will have (from the X8 itself), the 32/192 XLR audio + separate audio track from the 2nd TC-1 dedicated to the EXT IN port of X8 + another "scratch audio" from the X8 onboard mic.
The cable I am talking is this (bought 2 of them): www.amazon.de/dp/B000068O5H?psc=1&ref=ppx_yo2ov_dt_b_product_details
5. Using Tascam X8 as the mixer/external recorder with a TC-1 connected to the X8's EXT port plugged in during the entire shooting, how I can get its mixed signal output as the 3rd channel described above? I assume that I need to split the S5IIX's 3.5mm input with a 2-channel stereo splitter cable, to allow TC-1 to insert the LTC into the 4th channel?
I will feed the Panasonic DMW-XLR1 from Theos DBTX with the XLR in both L/R channels, so the 3.5mm jack will be used to feed in the X8 Line-Out signal (wirelessly) to feed it to the L-channel of the Lumix and the 4th channel will be the dedicated (1st unit) of TC-1 for constant feeding of timecode.
6. Using Tascam X8 as the mixer/external recorder with a TC-1 connected to the X8's EXT port plugged in during the entire shooting, how I can get its mixed signal output as the 3rd channel described above? Do I need to split the S5IIX's 3.5mm input with a 2-channel stereo splitter cable, to allow TC-1 to insert the LTC into the 4th channel?
I will feed the Panasonic DMW-XLR1 from Theos DBTX with the XLR in both L/R channels.
7. Is it possible for this specific setup of Tascam X8, Deity Theos D2RX + 2*DBTX to work with only one TC-1 unit, after the initial wireless jam and then connect it to X8 for syncing the other mic inputs during the entire shooting? I assume it is possible because the 2 of 4 channels of S5IIX recorded video will already have time synced with the first 2 channels of D2RX -> 2* XLRs of the DMW-XLR1.
8. If I sync the Lumix with its TC-1 and then remove it, how will then the Lumix will embed the Timecode data/track to the .mov video file? Will it be as metadata? Check Deity's workflow for the Lumix S5IIX here, the same as you did with Sony (I think). ruclips.net/video/Uh_U1Lx1oho/видео.html
I hope that all makes sense and excuse me for my newbie questions, but I am quite new to mirrorless shooting with timesync audio and your help will be invaluable!
Thank you for your time in advance!
Hey there, you've got quite a bunch of questions there - I'll try to answer the questions:
1. It shouldn't make much of a difference whether you leave the limit activated or not. DaVinci and other editing programs usually recognize a low-level timecode tone. But it's better to try it out for safety.
2. DF probably won't make a difference in this case, as the timecode isn't stored in the camera's meter data, but rather on the audio track.
3. I'm not sure - I'm still not entirely convinced if the setup, as you described it, is the optimal workflow.
4. To separate the timecode track from the scratch microphone, the split cable would indeed be the easiest option. If your audio recorder doesn't have a dedicated timecode input and you also record the timecode onto an audio track there, I believe it's important for all tracks to be integrated into a multi-track audio file so that the timecode in Resolve from one audio track can be transferred to the corresponding other tracks.
5./6./7. Why do you want to feed the output from your X8 back into the camera? The main feature of timecode is that you can connect the camera's footage with the audio recorded separately afterwards, without them being recorded into one file during shooting... I feel like the setup is more complicated than necessary and could lead to avoidable issues.
8. Since the Lumix doesn't have a dedicated timecode input, you'll need to keep the TC1 constantly connected to the camera.
@@deadendboredomThank you very much for your reply. I will try in reality a demo attempt before the actual production day to see if my theory works or not.
5/6/7. I need to have the 32/192Khz file ready to be used/swapped with the camera's one, if the 24/96Khz (wirelessly transmitted as 3rd .mov audio channel) that will be recorded in Lumix's video file from the DMW-XLR1 (via 48V XLR AT4053b in X8) doesn't allow me heavy editing for remove the extremely echo-ey environment I will be recording.
The 192Khz holds so much data, that the AI-cleaned-up voices (via VST audio plug-ins) don't break up easily until it becomes robotic. The goal is to make the dialogue sound like it was *almost* recording in a studio environment. It's very harsh and procedure until the result becomes easy for the ears.
Once again, thank you and God bless!
@@xarisathos But why not use the 32/192 audio in post-production from the outset?
I'm curious to see if it works out the way you envision. Good luck!
Thank for answering all questions. I have the Sony FX3 and the FX30 would it be easier with these, not having to use the audio channel and would one TC 1 be enough?
The question is not so easy to answer... What speaks for the use of the TC-1 or other timecode generators is the precision and simplicity. I would prefer the direct connection and not via the audio channel, because different delays occur in the audio channel from camera to camera. it is more of an emergency solution if the camera has no timecode input or you corresponding adapter at home. What speaks against it, especially with the FX3 and the FX30 with the BNCM1 adapter, is that it is somewhat unwieldy to have this adapter connected to the camera - apart from the fact that the USB port is then occupied (trigger cable for camera on a gimbal and timecode does not go together).
Whether a timecode generator is enough depends very much on the camera’s internal clock. With the FX3, I had a deficit of several frames after 1-2 hours without a timecode generator. That’s why I personally leave the generators on the camera.
But if you only want to roughly synchronize with the timecode and it is okay to synchronize it manually afterwards, then one timecode generator can be enough.
I hope that could help you a little.
@@deadendboredom Thank you for your detailed answer.
Sorry, but to have it clear: I could take one TC 1 plug it into the FX3, then take it out and plug it into the FX30 and leave it there. And both cameras would have the same time code?
Yes, how reliable the timecode is then depends on how well the internal clocks take over the timecode. In my experience so far, it is not optimal.
I actually heard yesterday that some people say that the FX3/FX30 with adapter is still not quite reliable, even if you leave the TC1 connected... I haven’t noticed that so far, but I will test it soon - so it may change how much I would recommend Timecode with this camera (apart from what I have already mentioned)
But even if the internal clock does not work optimally, as I said, there are only a few Frames difference over several hours
@@MANGO-FILM I’m still in the middle of testing, but I can tell you the following:
It is definitely better to leave the timecode generator connected and have as many timecode generators as you use devices.
The FX3 is after 12 hours off by 8-9 frames, with Disconnected time code generator. I would suspect the FX30 in a similar range.
With a connected time code generator, this is not a problem.
if i shoot at 50p on camera what i must to do ?
Unfortunately, the timecode standard does not provide for higher frame rates. If you want to record with 50p, the timecode in the TC-1 should be set to 25. At 60p to 30.
So every second image is provided with a new timecode and synchronization is still possible.
my rode wireless pro which has timecode didnt work with my sony a7iii and a7iv. will the deity tc1 work with them?
Doesn't the Rode Pro also offer the option to output timecode as an audio signal? That's the only way to record timecode on the cameras you mentioned, and it definitely works with the TC1, but it should also work with the Rode.
Which devices do you plan to synchronize later via time code?
@@deadendboredom yes it does. I guess I need to figure out how to convert/transcribe the audio and video file in premiere.
Do you mind making a video on that. Will appreciate it
@@Frimpeezzy I don't use Premiere unfortunately, but there should be a similar way:
Right-click all video files in the Media Pool and select “Update Timecode from Audio Track”
Can’t the Zoom F8n jame timecode to all of your cameras?
Yes, at least cameras with dedicated BNC TC in can be connected directly to the TC Out of the F8n. Then, however, you have to rely on the hope that the camera’s internal clock continue to run reliably after disconnecting.
This can work, but is not the most reliable and convenient solution If you have the money for dedicated timecode generators. If you don’t want to spend the extra money, it’s definitely an alternative.
Hallo, danke für Dein interessantes Video. Ich bilde mir ein, dass Du einmal in einem anderen Video erwähnt hast, dass der Video Assist den Timecode von einer Sony (FX30?) übernehmen kann. Weißt Du, was man da einstellen kann? Und gibt's eine Chance, diesen Timecode dann über den Video Assist in den ATEM Mini zu schleifen? lg, Lukas
@@Energie-Events Wie es bei der FX30 genau geht kann ich dir leider nicht sagen, aber vlt ist es ähnlich zur FX3:
Im gelben SETUP Menü auf „External Output“. Dann „HDMI Output Settings“ runter scrollen und dann „Time Code Output“ auf ON.
@@deadendboredom Vielen Dank. Bei mir ist's im selben Menü, aber wird nicht von meinem Video Assist 7" 3G übernommen, obwohl Timecode von Videoeingabe eingestellt ist.
Ah, Rec Control muss auch auf On sein, eh' klar. Jetzt klappt's. Danke. Viel Erfolg weiterhin mit Deinen gut verständlichen Videos.
I'm using deity TC with A7III but it didn't record the timecode it only records audio please help me with the settings
@@abhijithsivakumar-if5ny I'll give it a try:
I assume you want to record the timecode from the TC1 on the audio track of the A7III (since, as far as I know, the camera doesn't have a proper timecode input). The most important setting on the TC1 is "L-OUT / L-IN / A-OUT". If you want to record the timecode on an audio track, this setting needs to be set to A-OUT to get mic level output from the TC1.
If you have any further questions, try to explain exactly the problem.
@@deadendboredom i tried with A-out in deity but it doesn't record the time code it only records audio that's the problem i tested in Davinci if i selected time code from audio track nothing changed its still on the video timecode
@@abhijithsivakumar-if5ny Then let's see what's going on:
- Do I understand correctly that you have connected the TC1 to the A7III using the supplied jack cable?
- The cable is also connected to the microphone input, not accidentally to the headphone output?
- If everything is connected correctly and you record a clip with the camera, is the sound recorded coming from the internal microphone of the camera or the TC1 internal mic?