**Correction** Technically, timecode is only written continuously when recording to an audio input. When you connect a timecode generator to a timecode input, it writes the time from the generator as a timestamp at the start of the file only. Also, for critical sync for larger budget movies shooting 3D or CGI, they'll often use genlock instead of timecode which is a way to tell each camera when to write each frame so that they do not drift over time. Timecode does not fix drift issues if you're recording with devices (cameras or audio recorders) which drift over time. It only ensures that they start in sync. The Tentacle Sync Studio app does allow you to convert audio timecode by selecting where in the recording you wish to read the timecode (start, end, or middle of clip) which can sort of help if you are experiencing some drift. Nevertheless, if drift is an issue you're trying to solve, genlock is the way to fix it.
Genlock isn't really instead of timecode, more like an addition to timecode. I have more camera experience than audio. My experience with cameras in a 3D situation you use both TC and Genlock. Timecode for the frame stamp (Genlock doesn't provide that) and Genlock to synchronize the shutters are exactly happening in sync in both cameras. I just went to the Ops Manual of the digital camera company I used to work for, here is a piece of it - "Timecode is most accurate and effective when coupled with genlock." For genlock in 3D we had splitters from one of the larger Clockit-Lockit boxes that fed both cameras. That might not be ideal but it seemed to work. It has been a while since I did tech support so I had to look some of this up to see if anything changed. The new small Lockit product page says "The primary output carries timecode and genlock/wordclock". They have Y cables that give you both. The older Ambient boxes had 2 cables coming out. The rolling shutters of modern digital cameras don't insure that you match other cameras without Genlock. You could shoot a smart slate (TC) and visually the LED's might not match between frames without genlock. Good point about the TC being at the first frame! The metadata takes the frame length of the clip to display running timecode.
@@brisci Longitudinal timecode (LTC) and Vertical (interval) timecode (VTC) functions have been freely mixed, matched, and totally confused by this discussion. If video is genlocked and a VTC type generator is used, each of those frames of video would be marked by the VTC. Think about a "window burn" where the time code shows onscreen. Unique timecode address on each frame. This "timestamp on start of file" issue appears to be off point and/or fundamentally wrong. Please refer to Frank Zappas' song "Baby Snakes" and any comprehensive history of film and video editing for background. The Society of Motion Picture and Television Engineers have published exhaustive specifications. After all, they are the "SMPTE" in "SMPTE timecode."
@@susannerodriguez4471 Maybe where the discussion gets lost is in the difference between tape based and file based digital workflows. I believed that we were referring to file based recording, which does not in fact have a time stamp on every frame. True for both digital audio and digital video. TC in modern digital cinema cameras, (audio recorders) are not the same as tape. It is all in metadata. This is why "record run" TC doesn't matter anymore.There isn't "embedded" timecode anymore, as there was in tape. The clock or frame rate is still based on SMPTE standards, you have to have all of your devices set to 23.98, 29.98, 25, 30, 50 etc. or you will never synch up audio and picture and that is why we use TC boxes.It is basically the same appearing as in the past, just recorded different in a file. Here is a discussion I found so it isn't just me blathering. forums.adobe.com/thread/2140069 one response - "That's really useful to know that the audio file has the first frame time-stamped and that from there, the DAW or NLE system works things out."
I am going to reply to myself - the embedding of timecode is in the digital clip file. I can still make a window burn but it is all software based. It is embedded, but not in the way tape did it. The tape files from days gone by, embedded TC in between the frames of video VITC.Or running on a track with the frames, LTC. The word embedded can be mis-understood. There is no choice for VITC and LTC now in digital file based cameras, because it doesn't work that way anymore. A lot of the old tech had to do with interlaced frames as well. I shoot only progressive footage now, my time code is usually Time of Day. It just takes some hardware boxes to get all of the devices to record the same exact time, but it can still end up being off. The files work essentially the same, but how it is done has really changed. The biggest takeaway for shooting this way (digital files) if you have a really long take, and the clock drifts, you may have synch problems in post. You don't really need TC on audio to synch it with video/film. Motion picture films did this for most of history. Clapper sticks. Now software can do it by waveform. My comment originally was concerning 3D/Stereo rigs, it absolutely has be be locked, or you are going to have a weird headache inducing film. Because it is split between your 2 eyes.
Hey Curtis, was just going to comment about that, it's very rare for you to make a mistake. I should have known you already had a correction posted :-)
Loving the teal shirt and background lighting. Everyone focuses in colour grading for certain looks and forget what you put in the frame matters too. Great video as always.
Holly shit, what was INCREDIBLE VIDEO. So much information, so much knowledge, such an intresting new device(for me)! Curtis, make more of this! Next time, maybe a video about cheap prompters / DIY prompters?
Superb information, well delivered and professional. Never disappointed and always learn something every time. Thank you for doing this. The ability to do this with DSLR using the mic input was a revelation and appreciated.
Time code cameras..... If I were to record audio directly to camera with the new VideomicPro+ using its safety track I would use up both channels even though in mono. Then I would need a time code approved camera which via USB records a time code stamp into the file? Sony & Panasonic already does that right, not the 80D? And if you power via USB then you would want one more USB...? But if you had SoundDevices MixPre6 + TimeCode you could solve som dilemmas? How I see it I would use Røde"+" on the camera because the MixPre6 would get audio from other fixed places before I can afford to go wireless. So either a new "power"-full camera OR no time code I guess. Maybe I should consider safety track on camera unnecessary if I'm using MixPre on the side.
I haven't seen anyone address a particular question/workflow that I typically use. Most everyone describes sync using these small wireless camera mounted devices for only one take. That is 1 camera and 1 audio recorder recording 1 pass, or multiple cameras and audio recorder recording 1 pass. My workflow is filming music performance - either stage performance or music video type performance, where the singer(s) or performer(s) listen to and perform with a pre-recorded audio track, often with click into in-ear monitors so as to remain in perfect timing over MULTIPLE TAKES. The best scenario for synchronizing audio and video in post is for the playback audio to supply the timecode. So, I may have 4 Takes with 4 cameras and 32 audio tracks per take, for example. That's 16 camera angles and 128 audio tracks to synchronize together. This is easy if all gear is pro with genlock and timecode inputs and you're running hard sync/timecode lines to all the gear. Then Audio playback starts at 1:00:00:00 each time and the audio playback timecode gets recorded to all video and audio recordings. But, what if I'm using DSLR cameras without genlock or timecode inputs? Which of these portable wireless devices will FOLLOW a timecode signal in order to record a repeated identical timecode over repeated takes? I know that tentacle sync does not. It jam syncs at whatever timecode you want to start at (typically using time of day) and then runs continuous. You can't have it follow the timecode position from audio playback in this case. Will the NanoLockit follow a timecode source like this? How about other devices such as the Qbit or Ultrasync or the Moze Gear also mentioned in the comments here? Let me know if you know.
Hi Timothy, I don’t know offhand but will check when I have a few free minutes. My sense is that you need devices capable of genlock or wordclock which as you indicated, are different than timecode. Genlock triggers devices to record a frame whereas timecode is merely an accurate clock source that usually gets recorded to file metadata on each recording device or an audio track. It supports record time and free run modes but neither of these would fit the situation you cited. I’ll keep my eyes peeled for solutions but out of the box, I don’t think these fit the job you describe.
Sticking my uninvited nose in here: I have had good success with this process using run-time timecode on the recorder (actually a computer running Pro Tools) and simply shooting a second or two of timecode (from a portable monitor) on each camera before each take or punch-in. With music video to playback I use a tablet as the playback device which is displaying timecode; same procedure get the tablet in front of each camera during a "pre roll". Sub-frame accuracy only really matters for the audio so genlocking the cameras is (IMHO!) not really necessary.
Wow. I contrast this from when i worked at the BBC in the late 80's. Sync was Pilot tone on Nagra 4s recorders. Used mains sync between 16mm mag bays as well. Saw that transitioning into TC (TC devices were 3 unit rack sized) and then the beginnings of DV where even domestic devices would start to have amazing accuracy in time drift compared to what was the then "Pro"standard. How far we have come!
Oh wow there is so much involved in shooting video. Thanks, Curtis Judd I'm a new subscriber and I learned a whole lot from your video's so thanks again
(Don't mean to sound pretentious or like a smartass) but you are slightly wrong about timecode. You are treating time code as a method of locking cameras together by saying "it writes on every frame" or "required for 3D rigs". Timecode only stamps the first frame of the recording then your post production software uses its time code to line up that marking, time code is not written to every frame. Timecode is simply for aligning a single point of audio + video and nothing else. When we begin talking about 3D rigs or time drift in long recordings timecode will not help you there, what you require is called genlock (for video) or wordclock (for audio). Genlock works by sending a pulse to every camera telling it when to capture the frame, that's important as two cameras shooting at 24fps might not be taking each frame at perfect intervals and in a very long multi-camera situation or in a 3D rig this can lead to the cameras being in sync at the start (thanks to the timecode stamp) but slowly falling out of sync due to slight discrepancies in the clock circuits that tell the cameras exactly when to take a frame or an audio recorder exactly when to sample. Hope that clears some stuff up for people.
Thanks Derian, good points and clarifications. One further clarification: When recording linear time code to an audio input, it actually is recording timecode continuously and some apps (like Tentacle Sync Studio) allow you to choose where you want to sample the timecode when converting to metadata. Good points on drift and explanation on genlock. I appreciate the input!
Thanks for the neat video! I'm doing a single camera documentary project by myself and have always been intrigued by timecode. I currently and running dual system on a F8 for my boom mic and I typically run my backup (Senn AVX Lav) into my GH5. The FCPX audio syncing seems to be pretty straight forward, but I always wondered if there would be any advantage for my particular workflow to add time code to the mix. I seem to think it would add more time to my post workflow with little overall advantage, but wondered your thoughts?
Thanks for the great video overview! Did you say I can use the nanolockit as a master and run it to a consumer recorder like my zoom h5? I've seen videos hooking up a nanolockit to a consumer camera like my Sony a7RII but not to a consumer recorder. Eventually I plan to upgrade to an SD 633 but the budget is small right now. Thanks and keep up the great work!
Hi John, yes, you can, but it will take up one of the audio inputs. You'll also need an application to convert the audio timecode channel to meta-data timecode such as Tentacle Sync Studio or DaVinci Resolve. Good Luck!
Great video Curtis, would you ever do a comparison video on the pros and cons of the NanoLockit vs the Tentacle Sync? I'm trying to decide between the two. My mentality on buying equipment is to invest for the future and I love Ambient's products but I also love Tentacle Sync's bluetooth connectivity with its mobile app.
Hi Jeremy, I’d have a really tough time recommending one over the other as there are trade offs on both sides. If you’re using other Ambient gear, makes sense to keep it in the family, so to speak. One of the downsides of Bluetooth apps is that more and more gear is coming to rely on your phone or tablet to the point where I’ve found myself frustrated during a shoot trying to control everything. That being said, it is nice being able to see the battery and sync status remotely on the Sync Es.
Can the system be used with a lower priced audio recorder? Specifically, I'm using a DSLR with a Zoom H4n Pro. I have 2 microphones (matched pair of Rode NT5s) plugged into the Zoom. Would I still be able to connect a NanoLockit to the Zoom?
I've heard you discuss three different small SMPTE timecode systems. Have you settled on which one gives you the most bang for the buck? Nano Lockit, Tentacle Sync, or Moze gear? Also, per a question you pondered in one of your reviews. Oscillators come in many forms with varying precision. The most important you may run into are: RCO = resistor capacitor oscillator, an analog oscillator based on the time it takes for a capacitor to charge up to some small voltage through a resistor, dump the charge and repeat (think of the recycle delay on a camera flash, same process, but bigger capacitors that take seconds), these are very susceptible to device to device variations, and temperature drift, not precise enough for most timebase purposes of course. XO = crystal oscillator, dramatically more precise than RCO, but will have accuracy variations unit to unit, and will drift slightly with time, and over temperature variations. VCXO = voltage controlled crystal oscillator, a crystal oscillator that can be "tuned" or "pulled" faster or slower with a variable voltage input. This can be used with a microcontroller measuring a temperature sensor to compensate for temperature induced drift (like the TCXO below), or to adjust to periodic inputs from another source, such as a GPS which is an atomic clock time base. TCXO = temperature compensated crystal oscillator, temperature is measured internally, and the oscillator is "pulled" to reduce temperature caused drift. May also allow VCXO pulling. OCXO = oven controlled crystal oscillator, a crystal oscillator housed in an insulated constant temperature oven, which can greatly reduce its sensitivity to ambient temperature variations. Very precise temperature stability into the ppb (parts per billion) range. Downside is they tend to be expensive, bulkier for good insulation, and power hungry to run the oven. Generally the most precise form of crystal oscillator. Beyond this, I suppose atomic clocks are next.
Cool. On some pro-sumer cameras and audio recorders, you do have to be careful about cross-talk between the channels if you're recording audio and TC on the same device.
Hey Curtis thanks for a very intuitive video, however I have a question which is can I mix the two different devices and get Same results? For example I have TinyLockit ANC-TL and this one NanoLock so can I have one of them on the recorder( I use sound devices 633) and another one on my camera ? (I use URSA Mini 4.6K)
Hi Curtis, thanks for the awesome video. I have a quick question about the Nano Lockit. My current set up uses a Panasonic GH5. I was wondering if I connect the Nano Lockit to a DMW-XLR1 input, would I be able to record audio on the right or left side channel. Thanks
Hi there, great video. What if you have multiple cameras changing frame rates continuously at different times from each other throughout the shoot in a run and gun doc style? Will the lockits continue to keep the cameras sync or will i have to jam sync every time?
Awesome content Curtis - thank you! Question - can't you jam the NanoLockit from the Sound Devices and then you only need two units, one for each of the cams?
Hi Curtis, I will be using these for the first time and have a burning question. When you hold the green button on the first slave to wirelessly synch to the second nano, will it keep the timecode of the recorder? Will the recorder still be the master? Because I saw in other tutorials that holding the green button prompts the nano to generate it's own timecode. Many thanks.
If I understood Curtis demo, do you have to plug in each nanolockit to tell them what FPS to use or just the master unit ? I downloaded and reviewed the quickstart guide but does not mention each unit. Can I assume the master sends the FPS to the slaves along with the TC ?
Hi Curtis, Thank you for this interesting/informational video. I have (5) multiple GH5 and I'm ready to drop the money on these, can you please help me with understanding if the Nanolockit works with 50fps? Also wondering if I'll buy ACN-CL Lockit, will it transmit 50fps timecode to Nanolockit? Do I need to purchase MasterLockit to be able to use 50fps timecode on multiple gh5? I've sent them an email but it bounced back with covid-19 message. so no touch with ambient.de. Thanks you and be safe.
Hi Drumvisio, SMPTE timecode, which is used by all timecode generators on the market, supports up to 30fps. You can use the setting for 25p to get roughly in sync. You may want to test with one first to make sure it works for you. Support for higher frame rates may come in a future update to SMPTE timecode standard.
Great walkthrough, love it! I see a few questions on NanoLockit vs Tentacle Sync, wouldn't it be possible to combine them and use one of the brands as master for the other?
Hey Curtis, the NanoLockit looks like a great investment. My question is, if you already have the NanoLockits say two or three at the most, is it necessary to have the Master Lockit to have them function? In other words if I'm out on the field, when will I need the Master NanoLockit?
Great and informative video Curtis. I am curious, can FCPX convert a audio timecode file to a regular timecode or timestamp, or do you need a third party app to do this first before importing it to FCPX?
Thanks! FCPX unfortunately does not convert audio timecode to meta-data/file timecode. DaVinci Resolve and Avid Media Composer do. Also Tentacle Sync Studio does.
Thanks for the quick reply Curtis. So using the Nanolockit on a camera that does not have dedicated Timecode requires another purchase of Tentacle Sync at 149 euros, that is if you are not using DaVinci or Avid already. Good to know. I think if Ambient is promoting this product showing mirrorless cameras and including 3.5mm cables, it should point out that possible additional software is required unless you are using the above mentioned software already. Cameras like the Canon C100 mkII also do not have a dedicated timecode in. You did point out the conversion requirements in your excellent video Curtis, and kudos to you. I will suggest to Apple they include this feature in the next update of FCPX. Maybe Ambient should release a free software to solve this small issue. I think it is a great product but might be even better if it had a dedicated software to go with. Thanks for all you do :)
Hi Curtis I just bought the GH5 and I can see you have the Olympus lens on? Is that the Olympus 45mm f/1.8? Can you recommend it? Have you tried the Rokinon 35mm f/1.5? And how would you compare these?
+Kasper Nørgaard hi Kasper yes that is the Olympus 45 f/1.8. I've shot with it for about 3 years now and really like it for talking head and interview video work. I'm not a super lens snob and have never read things like DXO tests so I'm probably not a good one to ask if you're looking for that type of info. But my practical experience with it has been all good. Clean, sharp, reliable. I also don't use auto focus extensively so I don't know how it compares to others on that front (just af on the talent at the start of the interview). Haven't used the Rokinon. Lots of people talk about them as being good value for money but haven't tried them myself. Congrats on the new GH5! I hope it helps you make some great films!
Curtis Judd Thank you for the always fast reply and your good videos. 😊 I tried the Rokinon in Las Vegas 2 weeks ago and considering buying that or the Olympus. I got a good deal for the Rokinon at 416$ but I didn't buy it and I regret that now. In Denmark I have to pay 641 $ because of tax, fees and stuff. I really liked it but I just bought the GH5 and 12-35mm, so I wanted to save it for later.
Curtis, thank you for the videos you post. You have influenced me into purchasing the items that are in your videos. I purchased three NanoLockits as demonstrated in this video for the Mixpre 6, and Ursa Mini Pro 4.6k. I am having a hard time locating a cable to connect from the NanoLocket to the URSA TC input connector and a cable to connect from the NanoLocket to the MixPre 6 TC input. Can you help me locate the proper cables? Also, what do you recommend for a 7" 4k monitor to connect to the URSA Mini Pro 4.6k? Thank you.
Hi Don. Here are some items for your consideration: Nano Lockit to Ursa Mini TC Cable: bhpho.to/2MOn6qy Nanolockit to MixPre-6: nanolockit.com/en/product/tc-io-35ra/
I'm Confused. I was told to use a TC 5pin Lemo to BNC output cable but you state to use a TC 5pin Lemo to BNC input cable, for the NanoLock to URSA Mini Pro, I just need conformation as to purchase the correct cable to connect the NanoLock to URSA. I don't like to return stuff. Thanks so much for your Videos and Help with this.
Thank you Curtis as always for that video ;) I have a question is possible to use one nanolockit for two devices? for example Ursa 4k with sound devices mixpre6?
@@alexbanaszkiewicz3065 Hi Alex, I am not aware of any cameras which have proper, in-built temperature compensated crystal oscillators (timecode generator). Some allow you to jam them and they just use their real-time clocks to count timecode. But those drift quickly so sync becomes a very frustrating experience. If you really want to do timecode to save time syncing in post, every recording device (audio and camera) needs to have a real TCXO. The MixPre II series has them built-in as do other higher end audio recorders. But cameras never have them and always need an external timecode generator like the Nano.
Question. If you use a NanoLockit or any Time Code generator with a DSLR or a TRUE Video Camera is the Time code Superimposed to the audio track or if one used a 'Y' cable they would have Time Code plus Audio on both Stereo Channels? Could one use the NanoLockit with a Zoom Hn4 Pro on the 3rd or 4th channel when recording in 4 track mode? Would the NanoLockit let me leave my H4n record continually and start record Pause a Video camera & eastly Sunc Video to the Continues Audio of the H4n Pro?
The timecode is stored on an audio channel in DSLR/mirrorless cameras which do NOT have a dedicated timecode input. For professional cameras with dedicated timecode inputs, the timecode is stamped into a metadata field on the video clip. It is NOT burned into the picture. Yes, you could use the Nanolockit on the 3rd or 4th channel on an H4n Pro, but note that monitoring may be difficult because it is an audio signal you will hear along with the microphones in your headphones.
@@curtisjudd So what you are saying is that if you use NanoLockit or any Time Code generator with a DSLR or a TRUE Video Camera you LOOSE your Audio channels to the time code. At least the old VITC (Vertical Interleave Time Code) embedded in the video didn't degrade video or audio.
@@HoundDogMech Most TRUE video and cinema cameras have a dedicated timecode input so you do NOT lose an audio channel. It is mainly just the consumer/DSLR/Hybrid cameras without a dedicated timecode input where you have to use an audio channel.
Curtis; is it necessary to leave the nonolockit plugged into the camera during the length of the shoot? I'm thinking that I could use the same nanolockit for several cameras if I can just plug it into the mic input of each one (I have three) and get them all time coded. Thanks.
A timecode generator is just a highly accurate clock that counts time and frames and has an input and output. A smart slate is a slate with an in-built timecode generator plus a digital readout of the timecode.
Hello Curtis, and thanks for the great video. I have a question about the NanoLockit plugging into the mic input on a DSLR (say Canon Mark iii). If the Nano is using that input, then, I guess there wouldn't be a way to record a scratch audio track on the camera via a mic because the mic input is being used. Is that correct? Thanks, Jody
Hi Jody, thanks! That is correct, with the NanoLockit, the only thing that will be recorded to the camera's audio track is a timecode signal. Some timecode generators have a microphone on them and record timecode to the left channel and the sound captured by the microphone to the right channel. The Tentacle Sync E falls into this category and you can learn more about those here: czcams.com/video/o36XYOPp0BE/video.html
hello, I got a question about the time code. What if I have already got a Zoom F8 and I wanted to sync it to a camera which hace a timecode input, Should I purchase the nanolockit or I can just sync them though a single SDI cable. Thank you.
Any major advantages over the tentacles sync, I went we will that system over the ambient for price reasons but have used both. Other than the wire features to sync one or more unit the seem very similar.
Hey Jared, The two systems each have their strengths: Tentacle includes a slight price advantage, the software (if you're on Mac), ability to change settings by connecting via wire to smartphone. The Nanos are much better built, sync wirelessly, can change the output level with buttons (rather than having to connect via wire to phone) and can be controlled remotely with a Master Lockit (if you're in the system). Time will tell which I prefer now that I have both.
Am I right that with the NanoLockit, you loose both Left & Right audio channel on the camera? It looks like that when you showed the connection via the 3.5mm TRS plug. I think that the Tentacle Sync, allows one side to take an external mic, which could be a nice backup feature. Is Tentacle Sync also less expensive? Tentacle comes with their sync software, which you used in the demo, but I think a user would need to buy separately as it's not included with NanoLockit 0 is it?
+RemekTek Media the Tentacles have an in-built tiny microphone that goes to right channel while the timecode goes to left. NanoLockit does not. The Tentacle Sync software is good on Mac but limited on Windows. But of course the Tentacles cannot sync wirelessly and do not use the more robust lemo ports. They are also not as tough in terms of build quality so there are tradeoffs either way. Good question, thanks!
Thanks for your quick and helpful reply. Doesn't the new Tentacle Sync E have Bluetooth for wireless sync? I think they are meant to ship towards end of this year.
I use Macs. Would you recommend NanoLockit or the Tentacle Sync E, or something else. I am budget conscious, but I would rather buy once and get the right product than have to buy twice. If you know what I mean...
Hi again! The Sync E has bluetooth which allows you to connect and configure the tentacles but does not allow wireless sync, unfortunately. Here's a conversation with Ulrich from Tentacle with the details: czcams.com/video/vWzyQQkJpRI/video.html
Which cameras will you be working with? Do you do the editing? If so, which app do you edit with? The reason I ask is that if you'll be working with cameras that do NOT have a dedicated TC input, then you'll need an app to convert the audio timecode to file timecode. DaVinci Resolve does that. The Tentacle Sync Studio app does it really, really well (batch processes so you can literally dump hundreds of clips into it, click sync, and it figures it all out, even if it is multicam footage and then creates an XML file you can import into Premiere or FCPX and everything is all synced up and ready to edit.) You can also use the Tentacle Sync software with NanoLockits which I confirmed with my tests here. I really like the wireless sync capability of the Nanos. I really like the software and the ability to change settings such as framerate on the Tentacles with a phone rather than a laptop. If you'll be working on paid jobs where you may need to rent additional generators, you may have better luck getting your hands on a Master Lockit and then you'll have all the wireless configuration and syncing capabilities.
Why would someone go through all this (especially in the case of devices without dedicated inputs for these things) instead of using, for example, Premiere Pro's built in merge and multi-cam features?
rmp5s you can use Timecode with merge and multicam, and it is the quickest way of synching (it doesn't require any manual intervention, or complicated processing). Also, synching by audio (the second fastest way) can not work, eg if your using a long lens to capture someone in the distance in a noisy environment who is close miced.
Also, in terms of cameras without dedicated tc inputs, there are software packages that can batch convert audio Timecode to standard Timecode on a QT file, so this could be efficient for some workflows.
i've got 3 nano lockits..... i started filming music videos, bought a deity timecode slate.... If i use pro tools to playback with a TC output port, can I somehow use my nano lockits to continually update the smart slate with the pro tools timecode output? So that the slate is showing the MUSIC TRACK TIMECODE! Idk if there's a continual update slave mode that the nano can run in... thanks!
@@curtisjudd yeah I get that but That has nothing to do with music timecode getting there. For narrative I’m fine with jamming. But I’m scratching my head trying to get music track timecode there.
@@curtisjudd deity replied back to this question saying movieslate iPhone app can do it and Bluetooth communicate with the slate. I will try that out and report back.
No, they each seem to have a different set of strengths. The Mozegear needs not smartphone or computer to configure - all done with switches and tiny dials. The NanoLockit has the wireless sync capability and very rarely needs to be connected to a computer for configuration (only if one of the NanoLockits is used as the master clock). And the Tentacle sync can be configured with smartphones (wired connection) and comes with some great syncing software for Mac (not quite as strong on the PC side). It seems like they each appeal to different tastes. All seemed plenty accurate for a full production day (< 1 frame drift)
Curtis Judd those small external switches are not going to be as well sealed against the elements. A potential long term reliability gremlin. Especially the Mozegear style. I mean they could be okay, but they add cost too, why not use a smartphone?
I have been tempted by this solution, but not being able to fully set it up without a computer is a big minus. Is there any cheap TC solution that does not requite a computer or an iphone to set things up?
I'm not aware of any "cheap" options which do not require a computer or phone for setup. I do also have a Mozegear TigQ28 timecode generator which is configured via switches and dials on the unit but it is priced at $439: www.dvestore.com/mozegear-tig-q28#aid=6242
Thank you for the reply! I didn't knew Tentacle could be setup via an android phone, it seems like it can and that is good news for me. I wonder if Ambient will enable android/phones to set up the nanolockit over usb in the future or if you need to have access to a computer.
Although we are looking into this, the Nano was actually designed to not require help of computer or phone in most applications. As such it will automatically adapt to the framerate it is jammed from and keep this unless jammed with another framerate. With it's built in realtime clock you can go from there and use time of day as your TC. Setting the audio level to record TC onto audio track is also directly accessible on the device. So, falling back to the LockitToolbox is practically only required when running a batch of Nanos exclusively and you need to change the framerate - usually this would be done when setting up/preparing for a project and won't be touched ever afterwards.
Thank you for the input! That sounds very convenient and like it could be a good companion to mixpre3/6 which also seems to autodetect the framerate. I'll keep an eye on the potential future development for this product. I very much agree, overall this product seems to be much more hands on and intuitive to setup with physical controls apart from the potential need for lugging a laptop to project starts.
Thanks for the quick response. So what kind of cable do i need to get? Iam considering buying the Ambient Recording NanoLockit Timecode Generator (2 pack) and that doesnt have the BNC cable.
The DR-701D does not have an accurate timecode generator built-in so you'll use one of the NanoLockits as the master clock and keep it connected to the 701D during the entire shoot.
You'll want to set the mixer to the same frame rate as the camera. Be sure you get the actual frame rate as some cameras sometimes say things like 24p when really they are recording 23.98p. You can tell for certain by shooting a clip with your camera, importing it into your video editing app and looking at the properties/metadata there to see the actual frame rate. Good luck!
If it is working for you, no need to change. I'm just giving you a little background info so that one day when you are hired to shoot on a larger budget production, you'll be all set to use timecode. :)
Hi sir I need this lemo 5 pin to 4 pin lemo wiring diagram for red camera and 5 pin lemo to 5 pin lemo for Alexa camera wiring diagram sir send me link sir thanks
Hi Curtis! Thanks for the quick response! I use a S.D. 633. I'd like to use the Nanos like the Tentacle Sync. Can i jam the Nano with the 633 and then give it to the camera?
Hi Murugan. Travis here of XN3 Singapore. We're the distributor of Ambient here in Singapore and South East Asia. You can e-mail me at travis@thexn3.com , and I'll see how I may help with your requirements.
I have both now. The two systems each have their strengths: Tentacle includes a slight price advantage, the software (if you're on Mac), ability to change settings by connecting via wire to smartphone. The Nanos are much better built, sync wirelessly, can change the output level with buttons (rather than having to connect via wire to phone) and can be controlled remotely with a Master Lockit (if you're in the system). Time will tell which I prefer now that I have both.
One year out, which do you prefer? I have a mixpre 6, and truth be told I don't use time code yet, since most of my work is short films, student films, instructional stuff that is super simple to sync up in post.
**Correction** Technically, timecode is only written continuously when recording to an audio input. When you connect a timecode generator to a timecode input, it writes the time from the generator as a timestamp at the start of the file only.
Also, for critical sync for larger budget movies shooting 3D or CGI, they'll often use genlock instead of timecode which is a way to tell each camera when to write each frame so that they do not drift over time.
Timecode does not fix drift issues if you're recording with devices (cameras or audio recorders) which drift over time. It only ensures that they start in sync.
The Tentacle Sync Studio app does allow you to convert audio timecode by selecting where in the recording you wish to read the timecode (start, end, or middle of clip) which can sort of help if you are experiencing some drift. Nevertheless, if drift is an issue you're trying to solve, genlock is the way to fix it.
Genlock isn't really instead of timecode, more like an addition to timecode. I have more camera experience than audio. My experience with cameras in a 3D situation you use both TC and Genlock. Timecode for the frame stamp (Genlock doesn't provide that) and Genlock to synchronize the shutters are exactly happening in sync in both cameras.
I just went to the Ops Manual of the digital camera company I used to work for, here is a piece of it - "Timecode is most accurate and effective when coupled with genlock." For genlock in 3D we had splitters from one of the larger Clockit-Lockit boxes that fed both cameras. That might not be ideal but it seemed to work. It has been a while since I did tech support so I had to look some of this up to see if anything changed.
The new small Lockit product page says "The primary output carries timecode and genlock/wordclock". They have Y cables that give you both. The older Ambient boxes had 2 cables coming out.
The rolling shutters of modern digital cameras don't insure that you match other cameras without Genlock. You could shoot a smart slate (TC) and visually the LED's might not match between frames without genlock. Good point about the TC being at the first frame! The metadata takes the frame length of the clip to display running timecode.
@@brisci Longitudinal timecode (LTC) and Vertical (interval) timecode (VTC) functions have been freely mixed, matched, and totally confused by this discussion. If video is genlocked and a VTC type generator is used, each of those frames of video would be marked by the VTC. Think about a "window burn" where the time code shows onscreen. Unique timecode address on each frame. This "timestamp on start of file" issue appears to be off point and/or fundamentally wrong. Please refer to Frank Zappas' song "Baby Snakes" and any comprehensive history of film and video editing for background. The Society of Motion Picture and Television Engineers have published exhaustive specifications. After all, they are the "SMPTE" in "SMPTE timecode."
@@susannerodriguez4471 Maybe where the discussion gets lost is in the difference between tape based and file based digital workflows. I believed that we were referring to file based recording, which does not in fact have a time stamp on every frame. True for both digital audio and digital video. TC in modern digital cinema cameras, (audio recorders) are not the same as tape. It is all in metadata. This is why "record run" TC doesn't matter anymore.There isn't "embedded" timecode anymore, as there was in tape.
The clock or frame rate is still based on SMPTE standards, you have to have all of your devices set to 23.98, 29.98, 25, 30, 50 etc. or you will never synch up audio and picture and that is why we use TC boxes.It is basically the same appearing as in the past, just recorded different in a file.
Here is a discussion I found so it isn't just me blathering.
forums.adobe.com/thread/2140069
one response -
"That's really useful to know that the audio file has the first frame time-stamped and that from there, the DAW or NLE system works things out."
I am going to reply to myself - the embedding of timecode is in the digital clip file. I can still make a window burn but it is all software based. It is embedded, but not in the way tape did it. The tape files from days gone by, embedded TC in between the frames of video VITC.Or running on a track with the frames, LTC. The word embedded can be mis-understood. There is no choice for VITC and LTC now in digital file based cameras, because it doesn't work that way anymore. A lot of the old tech had to do with interlaced frames as well.
I shoot only progressive footage now, my time code is usually Time of Day. It just takes some hardware boxes to get all of the devices to record the same exact time, but it can still end up being off. The files work essentially the same, but how it is done has really changed. The biggest takeaway for shooting this way (digital files) if you have a really long take, and the clock drifts, you may have synch problems in post. You don't really need TC on audio to synch it with video/film. Motion picture films did this for most of history. Clapper sticks. Now software can do it by waveform.
My comment originally was concerning 3D/Stereo rigs, it absolutely has be be locked, or you are going to have a weird headache inducing film.
Because it is split between your 2 eyes.
Hey Curtis, was just going to comment about that, it's very rare for you to make a mistake. I should have known you already had a correction posted :-)
Loving the teal shirt and background lighting. Everyone focuses in colour grading for certain looks and forget what you put in the frame matters too. Great video as always.
+HIPPO media thanks!
Always the consummate professional, we are blessed, thank you Sir.
Thanks Dr Russell
Holly shit, what was INCREDIBLE VIDEO. So much information, so much knowledge, such an intresting new device(for me)! Curtis, make more of this! Next time, maybe a video about cheap prompters / DIY prompters?
Anyone else notice the optical illusion (shifting) occurring at exactly 3:15? (go to 3:12 to then watch it occur).
Superb information, well delivered and professional. Never disappointed and always learn something every time. Thank you for doing this. The ability to do this with DSLR using the mic input was a revelation and appreciated.
Thanks Jeff, I appreciate the feedback!
Time code cameras..... If I were to record audio directly to camera with the new VideomicPro+ using its safety track I would use up both channels even though in mono. Then I would need a time code approved camera which via USB records a time code stamp into the file? Sony & Panasonic already does that right, not the 80D? And if you power via USB then you would want one more USB...?
But if you had SoundDevices MixPre6 + TimeCode you could solve som dilemmas?
How I see it I would use Røde"+" on the camera because the MixPre6 would get audio from other fixed places before I can afford to go wireless. So either a new "power"-full camera OR no time code I guess.
Maybe I should consider safety track on camera unnecessary if I'm using MixPre on the side.
I haven't seen anyone address a particular question/workflow that I typically use. Most everyone describes sync using these small wireless camera mounted devices for only one take. That is 1 camera and 1 audio recorder recording 1 pass, or multiple cameras and audio recorder recording 1 pass. My workflow is filming music performance - either stage performance or music video type performance, where the singer(s) or performer(s) listen to and perform with a pre-recorded audio track, often with click into in-ear monitors so as to remain in perfect timing over MULTIPLE TAKES. The best scenario for synchronizing audio and video in post is for the playback audio to supply the timecode. So, I may have 4 Takes with 4 cameras and 32 audio tracks per take, for example. That's 16 camera angles and 128 audio tracks to synchronize together. This is easy if all gear is pro with genlock and timecode inputs and you're running hard sync/timecode lines to all the gear. Then Audio playback starts at 1:00:00:00 each time and the audio playback timecode gets recorded to all video and audio recordings. But, what if I'm using DSLR cameras without genlock or timecode inputs? Which of these portable wireless devices will FOLLOW a timecode signal in order to record a repeated identical timecode over repeated takes? I know that tentacle sync does not. It jam syncs at whatever timecode you want to start at (typically using time of day) and then runs continuous. You can't have it follow the timecode position from audio playback in this case. Will the NanoLockit follow a timecode source like this? How about other devices such as the Qbit or Ultrasync or the Moze Gear also mentioned in the comments here? Let me know if you know.
Hi Timothy, I don’t know offhand but will check when I have a few free minutes. My sense is that you need devices capable of genlock or wordclock which as you indicated, are different than timecode. Genlock triggers devices to record a frame whereas timecode is merely an accurate clock source that usually gets recorded to file metadata on each recording device or an audio track. It supports record time and free run modes but neither of these would fit the situation you cited. I’ll keep my eyes peeled for solutions but out of the box, I don’t think these fit the job you describe.
Sticking my uninvited nose in here: I have had good success with this process using run-time timecode on the recorder (actually a computer running Pro Tools) and simply shooting a second or two of timecode (from a portable monitor) on each camera before each take or punch-in. With music video to playback I use a tablet as the playback device which is displaying timecode; same procedure get the tablet in front of each camera during a "pre roll". Sub-frame accuracy only really matters for the audio so genlocking the cameras is (IMHO!) not really necessary.
Great video Curtis! Consumer grade cameras are absolutely diabolical at keeping timecode, a nightmare to work with in post every single time.
Wow. I contrast this from when i worked at the BBC in the late 80's. Sync was Pilot tone on Nagra 4s recorders. Used mains sync between 16mm mag bays as well. Saw that transitioning into TC (TC devices were 3 unit rack sized) and then the beginnings of DV where even domestic devices would start to have amazing accuracy in time drift compared to what was the then "Pro"standard.
How far we have come!
Indeed! Nice to see the size of the hardware shrink in this case.
Absolutely!
Oh wow there is so much involved in shooting video. Thanks, Curtis Judd I'm a new subscriber and I learned a whole lot from your video's so thanks again
Thanks for the feedback Cory.
Always a pleasure to see your tutorials Curtis. Have you tried the new Lockit? It seems really nice
Thanks Andreas. I hadn't heard that there was a new one, will go check into it!
Handy tip on recording time code to a camera using the mic input. I will try that.
👍
(Don't mean to sound pretentious or like a smartass) but you are slightly wrong about timecode. You are treating time code as a method of locking cameras together by saying "it writes on every frame" or "required for 3D rigs". Timecode only stamps the first frame of the recording then your post production software uses its time code to line up that marking, time code is not written to every frame. Timecode is simply for aligning a single point of audio + video and nothing else. When we begin talking about 3D rigs or time drift in long recordings timecode will not help you there, what you require is called genlock (for video) or wordclock (for audio). Genlock works by sending a pulse to every camera telling it when to capture the frame, that's important as two cameras shooting at 24fps might not be taking each frame at perfect intervals and in a very long multi-camera situation or in a 3D rig this can lead to the cameras being in sync at the start (thanks to the timecode stamp) but slowly falling out of sync due to slight discrepancies in the clock circuits that tell the cameras exactly when to take a frame or an audio recorder exactly when to sample. Hope that clears some stuff up for people.
Thanks Derian, good points and clarifications. One further clarification: When recording linear time code to an audio input, it actually is recording timecode continuously and some apps (like Tentacle Sync Studio) allow you to choose where you want to sample the timecode when converting to metadata.
Good points on drift and explanation on genlock. I appreciate the input!
Absolutely correct Derian. TC is not sync, just a reference. Genlock and word clock are sync.
Nicely explained and done. Thanks!
Thanks for the neat video! I'm doing a single camera documentary project by myself and have always been intrigued by timecode. I currently and running dual system on a F8 for my boom mic and I typically run my backup (Senn AVX Lav) into my GH5. The FCPX audio syncing seems to be pretty straight forward, but I always wondered if there would be any advantage for my particular workflow to add time code to the mix. I seem to think it would add more time to my post workflow with little overall advantage, but wondered your thoughts?
Thanks for the great video overview! Did you say I can use the nanolockit as a master and run it to a consumer recorder like my zoom h5? I've seen videos hooking up a nanolockit to a consumer camera like my Sony a7RII but not to a consumer recorder. Eventually I plan to upgrade to an SD 633 but the budget is small right now. Thanks and keep up the great work!
Hi John, yes, you can, but it will take up one of the audio inputs. You'll also need an application to convert the audio timecode channel to meta-data timecode such as Tentacle Sync Studio or DaVinci Resolve. Good Luck!
Great video Curtis, would you ever do a comparison video on the pros and cons of the NanoLockit vs the Tentacle Sync? I'm trying to decide between the two. My mentality on buying equipment is to invest for the future and I love Ambient's products but I also love Tentacle Sync's bluetooth connectivity with its mobile app.
Hi Jeremy, I’d have a really tough time recommending one over the other as there are trade offs on both sides. If you’re using other Ambient gear, makes sense to keep it in the family, so to speak. One of the downsides of Bluetooth apps is that more and more gear is coming to rely on your phone or tablet to the point where I’ve found myself frustrated during a shoot trying to control everything. That being said, it is nice being able to see the battery and sync status remotely on the Sync Es.
Can the system be used with a lower priced audio recorder? Specifically, I'm using a DSLR with a Zoom H4n Pro. I have 2 microphones (matched pair of Rode NT5s) plugged into the Zoom. Would I still be able to connect a NanoLockit to the Zoom?
Hi Todd, Yes, you could connect the NanoLockit to the 3.5mm input on the back of the H4n and the two NT5s into the XLR inputs.
I've heard you discuss three different small SMPTE timecode systems. Have you settled on which one gives you the most bang for the buck? Nano Lockit, Tentacle Sync, or Moze gear?
Also, per a question you pondered in one of your reviews. Oscillators come in many forms with varying precision. The most important you may run into are:
RCO = resistor capacitor oscillator, an analog oscillator based on the time it takes for a capacitor to charge up to some small voltage through a resistor, dump the charge and repeat (think of the recycle delay on a camera flash, same process, but bigger capacitors that take seconds), these are very susceptible to device to device variations, and temperature drift, not precise enough for most timebase purposes of course.
XO = crystal oscillator, dramatically more precise than RCO, but will have accuracy variations unit to unit, and will drift slightly with time, and over temperature variations.
VCXO = voltage controlled crystal oscillator, a crystal oscillator that can be "tuned" or "pulled" faster or slower with a variable voltage input. This can be used with a microcontroller measuring a temperature sensor to compensate for temperature induced drift (like the TCXO below), or to adjust to periodic inputs from another source, such as a GPS which is an atomic clock time base.
TCXO = temperature compensated crystal oscillator, temperature is measured internally, and the oscillator is "pulled" to reduce temperature caused drift. May also allow VCXO pulling.
OCXO = oven controlled crystal oscillator, a crystal oscillator housed in an insulated constant temperature oven, which can greatly reduce its sensitivity to ambient temperature variations. Very precise temperature stability into the ppb (parts per billion) range. Downside is they tend to be expensive, bulkier for good insulation, and power hungry to run the oven. Generally the most precise form of crystal oscillator. Beyond this, I suppose atomic clocks are next.
Wow, thanks Theresa!
Cool. On some pro-sumer cameras and audio recorders, you do have to be careful about cross-talk between the channels if you're recording audio and TC on the same device.
Hey Curtis thanks for a very intuitive video, however I have a question which is can I mix the two different devices and get Same results? For example I have TinyLockit ANC-TL and this one NanoLock so can I have one of them on the recorder( I use sound devices 633) and another one on my camera ? (I use URSA Mini 4.6K)
Yes
Hi Curtis, thanks for the awesome video. I have a quick question about the Nano Lockit. My current set up uses a Panasonic GH5. I was wondering if I connect the Nano Lockit to a DMW-XLR1 input, would I be able to record audio on the right or left side channel. Thanks
Yes, I'd put the timecode on left and audio on right. Happy recording!
Awesome! Thank you so much
Hi there, great video. What if you have multiple cameras changing frame rates continuously at different times from each other throughout the shoot in a run and gun doc style? Will the lockits continue to keep the cameras sync or will i have to jam sync every time?
No, you’d need to reset the frame rate and rejam each time
Awesome content Curtis - thank you! Question - can't you jam the NanoLockit from the Sound Devices and then you only need two units, one for each of the cams?
For the MixPre II series, yes. The original MixPres do not have an internal timecode generator so you’ll need one for that as well.
Hi Curtis, I will be using these for the first time and have a burning question. When you hold the green button on the first slave to wirelessly synch to the second nano, will it keep the timecode of the recorder? Will the recorder still be the master? Because I saw in other tutorials that holding the green button prompts the nano to generate it's own timecode. Many thanks.
@@LearnLightAndSoundSessions will do. Thank you anyway for such a fast response!
I'm sorry - it has been 4 years since I used these so I don't remember. I'm sorry! Probably best to contact Ambient support.
If I understood Curtis demo, do you have to plug in each nanolockit to tell them what FPS to use or just the master unit ? I downloaded and reviewed the quickstart guide but does not mention each unit. Can I assume the master sends the FPS to the slaves along with the TC ?
I believe yes. Worth testing to confirm.
Hi Curtis, Thank you for this interesting/informational video.
I have (5) multiple GH5 and I'm ready to drop the money on these, can you please help me with understanding if the Nanolockit works with 50fps? Also wondering if I'll buy ACN-CL Lockit, will it transmit 50fps timecode to Nanolockit?
Do I need to purchase MasterLockit to be able to use 50fps timecode on multiple gh5?
I've sent them an email but it bounced back with covid-19 message. so no touch with ambient.de.
Thanks you and be safe.
Hi Drumvisio, SMPTE timecode, which is used by all timecode generators on the market, supports up to 30fps. You can use the setting for 25p to get roughly in sync. You may want to test with one first to make sure it works for you. Support for higher frame rates may come in a future update to SMPTE timecode standard.
@@curtisjudd Thank you! (very much!)
Great walkthrough, love it! I see a few questions on NanoLockit vs Tentacle Sync, wouldn't it be possible to combine them and use one of the brands as master for the other?
Yes, they can work together once they are jammed to one another. You just loose the wireless jam capability of the NanoLockit.
Hey Curtis, the NanoLockit looks like a great investment. My question is, if you already have the NanoLockits say two or three at the most, is it necessary to have the Master Lockit to have them function? In other words if I'm out on the field, when will I need the Master NanoLockit?
Hi Alejandro, not necessary to have the Master Lockit at all. Here we only used the NanoLockits. Best wishes!
Great and informative video Curtis. I am curious, can FCPX convert a audio timecode file to a regular timecode or timestamp, or do you need a third party app to do this first before importing it to FCPX?
Thanks! FCPX unfortunately does not convert audio timecode to meta-data/file timecode. DaVinci Resolve and Avid Media Composer do. Also Tentacle Sync Studio does.
Thanks for the quick reply Curtis. So using the Nanolockit on a camera that does not have dedicated Timecode requires another purchase of Tentacle Sync at 149 euros, that is if you are not using DaVinci or Avid already. Good to know. I think if Ambient is promoting this product showing mirrorless cameras and including 3.5mm cables, it should point out that possible additional software is required unless you are using the above mentioned software already. Cameras like the Canon C100 mkII also do not have a dedicated timecode in. You did point out the conversion requirements in your excellent video Curtis, and kudos to you. I will suggest to Apple they include this feature in the next update of FCPX. Maybe Ambient should release a free software to solve this small issue. I think it is a great product but might be even better if it had a dedicated software to go with. Thanks for all you do :)
I agree, this is a feature that FCPX (and Premiere for that matter) really need to add. Thanks for the feedback!
Nice & Thanks :)
👍
Hi Curtis
I just bought the GH5 and I can see you have the Olympus lens on? Is that the Olympus 45mm f/1.8?
Can you recommend it?
Have you tried the Rokinon 35mm f/1.5? And how would you compare these?
+Kasper Nørgaard hi Kasper yes that is the Olympus 45 f/1.8. I've shot with it for about 3 years now and really like it for talking head and interview video work. I'm not a super lens snob and have never read things like DXO tests so I'm probably not a good one to ask if you're looking for that type of info. But my practical experience with it has been all good. Clean, sharp, reliable. I also don't use auto focus extensively so I don't know how it compares to others on that front (just af on the talent at the start of the interview).
Haven't used the Rokinon. Lots of people talk about them as being good value for money but haven't tried them myself.
Congrats on the new GH5! I hope it helps you make some great films!
Curtis Judd
Thank you for the always fast reply and your good videos. 😊
I tried the Rokinon in Las Vegas 2 weeks ago and considering buying that or the Olympus. I got a good deal for the Rokinon at 416$ but I didn't buy it and I regret that now. In Denmark I have to pay 641 $ because of tax, fees and stuff. I really liked it but I just bought the GH5 and 12-35mm, so I wanted to save it for later.
For filmmaking, the Rokinon may be a better option with it's focus made for manual work, focus gears, etc. Seems to review really well.
Curtis, thank you for the videos you post. You have influenced me into purchasing the items that are in your videos. I purchased three NanoLockits as demonstrated in this video for the Mixpre 6, and Ursa Mini Pro 4.6k. I am having a hard time locating a cable to connect from the NanoLocket to the URSA TC input connector and a cable to connect from the NanoLocket to the MixPre 6 TC input. Can you help me locate the proper cables? Also, what do you recommend for a 7" 4k monitor to connect to the URSA Mini Pro 4.6k? Thank you.
Hi Don. Here are some items for your consideration: Nano Lockit to Ursa Mini TC Cable: bhpho.to/2MOn6qy
Nanolockit to MixPre-6: nanolockit.com/en/product/tc-io-35ra/
I'm Confused. I was told to use a TC 5pin Lemo to BNC output cable but you state to use a TC 5pin Lemo to BNC input cable, for the NanoLock to URSA Mini Pro, I just need conformation as to purchase the correct cable to connect the NanoLock to URSA. I don't like to return stuff. Thanks so much for your Videos and Help with this.
Hi Don, it is probably best to contact Ambient Recording support to confirm the exact cable you need. Best wishes!
Thank you Curtis as always for that video ;) I have a question is possible to use one nanolockit for two devices? for example Ursa 4k with sound devices mixpre6?
If you have the original MixPre-6, then no, you'll need a Nano for each of them.
@@curtisjudd @Curtis Judd ok i understand maybe it is possible with camera which has its own timecode generator?
@@alexbanaszkiewicz3065 Hi Alex, I am not aware of any cameras which have proper, in-built temperature compensated crystal oscillators (timecode generator). Some allow you to jam them and they just use their real-time clocks to count timecode. But those drift quickly so sync becomes a very frustrating experience. If you really want to do timecode to save time syncing in post, every recording device (audio and camera) needs to have a real TCXO. The MixPre II series has them built-in as do other higher end audio recorders. But cameras never have them and always need an external timecode generator like the Nano.
@@curtisjudd Ok thank you so much!
Question. If you use a NanoLockit or any Time Code generator with a DSLR or a TRUE Video Camera is the Time code Superimposed to the audio track or if one used a 'Y' cable they would have Time Code plus Audio on both Stereo Channels? Could one use the NanoLockit with a Zoom Hn4 Pro on the 3rd or 4th channel when recording in 4 track mode? Would the NanoLockit let me leave my H4n record continually and start record Pause a Video camera & eastly Sunc Video to the Continues Audio of the H4n Pro?
The timecode is stored on an audio channel in DSLR/mirrorless cameras which do NOT have a dedicated timecode input. For professional cameras with dedicated timecode inputs, the timecode is stamped into a metadata field on the video clip. It is NOT burned into the picture. Yes, you could use the Nanolockit on the 3rd or 4th channel on an H4n Pro, but note that monitoring may be difficult because it is an audio signal you will hear along with the microphones in your headphones.
@@curtisjudd So what you are saying is that if you use NanoLockit or any Time Code generator with a DSLR or a TRUE Video Camera you LOOSE your Audio channels to the time code. At least the old VITC (Vertical Interleave Time Code) embedded in the video didn't degrade video or audio.
@@HoundDogMech Most TRUE video and cinema cameras have a dedicated timecode input so you do NOT lose an audio channel. It is mainly just the consumer/DSLR/Hybrid cameras without a dedicated timecode input where you have to use an audio channel.
Curtis; is it necessary to leave the nonolockit plugged into the camera during the length of the shoot? I'm thinking that I could use the same nanolockit for several cameras if I can just plug it into the mic input of each one (I have three) and get them all time coded. Thanks.
Hi Daniel, unfortunately no, it has to stay connected to the camera’s mic input through the shoot.
Thank you for the quick reply. Your answer really helped.
@@curtisjudd If using 2 or 3 cameras, do all cameras have to have a nanolockit plugged in, or just the master?
@@Jessi1031 Yes, each camera needs a dedicated NanoLockit.
What’s the difference between a smart slate and a timecode generator?
A timecode generator is just a highly accurate clock that counts time and frames and has an input and output. A smart slate is a slate with an in-built timecode generator plus a digital readout of the timecode.
You made this video years ago, but im still hoping for a reply! If i use the nanolockits, is a timecode slate needed and vice versa?
Not critical to have both, but if you’re working on a production with a budget over $250,000, a timecode slate is a good insurance policy.
Hello Curtis, and thanks for the great video. I have a question about the NanoLockit plugging into the mic input on a DSLR (say Canon Mark iii). If the Nano is using that input, then, I guess there wouldn't be a way to record a scratch audio track on the camera via a mic because the mic input is being used. Is that correct? Thanks, Jody
Hi Jody, thanks! That is correct, with the NanoLockit, the only thing that will be recorded to the camera's audio track is a timecode signal. Some timecode generators have a microphone on them and record timecode to the left channel and the sound captured by the microphone to the right channel. The Tentacle Sync E falls into this category and you can learn more about those here: czcams.com/video/o36XYOPp0BE/video.html
Curtis Judd thank you! I'll check it out.
Curtis Judd a
So if I have one Nanolockit connected to my Mixpre6, other is in Alexa SXT, and master is Ambient ACN-LS slate, will it work together wirelessly?
Yes.
@@curtisjudd Thanks!
hello, I got a question about the time code. What if I have already got a Zoom F8 and I wanted to sync it to a camera which hace a timecode input, Should I purchase the nanolockit or I can just sync them though a single SDI cable. Thank you.
You could just connect the F8 and camera.
Is Red colored Cable the output and the green cable the input?
In this case, yes.
Any major advantages over the tentacles sync, I went we will that system over the ambient for price reasons but have used both. Other than the wire features to sync one or more unit the seem very similar.
Hey Jared, The two systems each have their strengths: Tentacle includes a slight price advantage, the software (if you're on Mac), ability to change settings by connecting via wire to smartphone. The Nanos are much better built, sync wirelessly, can change the output level with buttons (rather than having to connect via wire to phone) and can be controlled remotely with a Master Lockit (if you're in the system). Time will tell which I prefer now that I have both.
Curtis Judd : now that you've been using both systems & now you can sync Tentecals via Bluetooth, any opinion?
Am I right that with the NanoLockit, you loose both Left & Right audio channel on the camera? It looks like that when you showed the connection via the 3.5mm TRS plug. I think that the Tentacle Sync, allows one side to take an external mic, which could be a nice backup feature. Is Tentacle Sync also less expensive? Tentacle comes with their sync software, which you used in the demo, but I think a user would need to buy separately as it's not included with NanoLockit 0 is it?
+RemekTek Media the Tentacles have an in-built tiny microphone that goes to right channel while the timecode goes to left. NanoLockit does not. The Tentacle Sync software is good on Mac but limited on Windows. But of course the Tentacles cannot sync wirelessly and do not use the more robust lemo ports. They are also not as tough in terms of build quality so there are tradeoffs either way. Good question, thanks!
Thanks for your quick and helpful reply. Doesn't the new Tentacle Sync E have Bluetooth for wireless sync? I think they are meant to ship towards end of this year.
I use Macs. Would you recommend NanoLockit or the Tentacle Sync E, or something else. I am budget conscious, but I would rather buy once and get the right product than have to buy twice. If you know what I mean...
Hi again! The Sync E has bluetooth which allows you to connect and configure the tentacles but does not allow wireless sync, unfortunately. Here's a conversation with Ulrich from Tentacle with the details: czcams.com/video/vWzyQQkJpRI/video.html
Which cameras will you be working with? Do you do the editing? If so, which app do you edit with? The reason I ask is that if you'll be working with cameras that do NOT have a dedicated TC input, then you'll need an app to convert the audio timecode to file timecode. DaVinci Resolve does that. The Tentacle Sync Studio app does it really, really well (batch processes so you can literally dump hundreds of clips into it, click sync, and it figures it all out, even if it is multicam footage and then creates an XML file you can import into Premiere or FCPX and everything is all synced up and ready to edit.)
You can also use the Tentacle Sync software with NanoLockits which I confirmed with my tests here. I really like the wireless sync capability of the Nanos. I really like the software and the ability to change settings such as framerate on the Tentacles with a phone rather than a laptop.
If you'll be working on paid jobs where you may need to rent additional generators, you may have better luck getting your hands on a Master Lockit and then you'll have all the wireless configuration and syncing capabilities.
is it true that it supports all frame rates not just up to 30 fps??
Yes.
Why would someone go through all this (especially in the case of devices without dedicated inputs for these things) instead of using, for example, Premiere Pro's built in merge and multi-cam features?
rmp5s you can use Timecode with merge and multicam, and it is the quickest way of synching (it doesn't require any manual intervention, or complicated processing). Also, synching by audio (the second fastest way) can not work, eg if your using a long lens to capture someone in the distance in a noisy environment who is close miced.
Also, in terms of cameras without dedicated tc inputs, there are software packages that can batch convert audio Timecode to standard Timecode on a QT file, so this could be efficient for some workflows.
i've got 3 nano lockits..... i started filming music videos, bought a deity timecode slate.... If i use pro tools to playback with a TC output port, can I somehow use my nano lockits to continually update the smart slate with the pro tools timecode output? So that the slate is showing the MUSIC TRACK TIMECODE! Idk if there's a continual update slave mode that the nano can run in... thanks!
Nano Lockits and the DEITY timecode slate do not communicate wirelessly with each other, but if you jam them with a cable, that works.
@@curtisjudd yeah I get that but That has nothing to do with music timecode getting there. For narrative I’m fine with jamming. But I’m scratching my head trying to get music track timecode there.
@@stenbiller99 same here.
@@curtisjudd deity replied back to this question saying movieslate iPhone app can do it and Bluetooth communicate with the slate. I will try that out and report back.
@@stenbiller99 👍
Could i use this in live productions ?
I’d need to understand more about your workflow, but yes, if you’re recording a live production and will sync and edit in post, this can be useful.
Have you settled on which gives you the most bang for the buck, Nano Lockit, Tentacle Sync, or Moze gear?
No, they each seem to have a different set of strengths. The Mozegear needs not smartphone or computer to configure - all done with switches and tiny dials. The NanoLockit has the wireless sync capability and very rarely needs to be connected to a computer for configuration (only if one of the NanoLockits is used as the master clock). And the Tentacle sync can be configured with smartphones (wired connection) and comes with some great syncing software for Mac (not quite as strong on the PC side). It seems like they each appeal to different tastes. All seemed plenty accurate for a full production day (< 1 frame drift)
Curtis Judd which are you going to use? I'm kind of leaning to the Tentacle. I think it's the cheapest?
Curtis Judd those small external switches are not going to be as well sealed against the elements. A potential long term reliability gremlin. Especially the Mozegear style. I mean they could be okay, but they add cost too, why not use a smartphone?
+Theresa Scott I have all three. I'll probably use the NanoLockits and Tentacle most often.
I have been tempted by this solution, but not being able to fully set it up without a computer is a big minus. Is there any cheap TC solution that does not requite a computer or an iphone to set things up?
I'm not aware of any "cheap" options which do not require a computer or phone for setup. I do also have a Mozegear TigQ28 timecode generator which is configured via switches and dials on the unit but it is priced at $439: www.dvestore.com/mozegear-tig-q28#aid=6242
Thank you for the reply! I didn't knew Tentacle could be setup via an android phone, it seems like it can and that is good news for me. I wonder if Ambient will enable android/phones to set up the nanolockit over usb in the future or if you need to have access to a computer.
Although we are looking into this, the Nano was actually designed to not require help of computer or phone in most applications. As such it will automatically adapt to the framerate it is jammed from and keep this unless jammed with another framerate. With it's built in realtime clock you can go from there and use time of day as your TC. Setting the audio level to record TC onto audio track is also directly accessible on the device. So, falling back to the LockitToolbox is practically only required when running a batch of Nanos exclusively and you need to change the framerate - usually this would be done when setting up/preparing for a project and won't be touched ever afterwards.
Even better, no need for any other devices in 99% of cases!
Thank you for the input! That sounds very convenient and like it could be a good companion to mixpre3/6 which also seems to autodetect the framerate. I'll keep an eye on the potential future development for this product. I very much agree, overall this product seems to be much more hands on and intuitive to setup with physical controls apart from the potential need for lugging a laptop to project starts.
Hello, i want to use this with Tascam DR-710D. Will i be using the mic in cable to connect the NanoLockit to the DR-710D? Thanks
Hi, no, with the DR-701D there is a timecode input on BNC connector. You'll use that so that you don't take up one of your mic inputs. Good luck!
Thanks for the quick response. So what kind of cable do i need to get? Iam considering buying the Ambient Recording NanoLockit Timecode Generator (2 pack) and that doesnt have the BNC cable.
Also will i be using the Tascam DR-710D as the master clock?Thanks
I believe this is the cable you'll need: bhpho.to/2ze1uge
The DR-701D does not have an accurate timecode generator built-in so you'll use one of the NanoLockits as the master clock and keep it connected to the 701D during the entire shoot.
@ (1:46) How would I know what frame rate to set the mixer to?
You'll want to set the mixer to the same frame rate as the camera. Be sure you get the actual frame rate as some cameras sometimes say things like 24p when really they are recording 23.98p. You can tell for certain by shooting a clip with your camera, importing it into your video editing app and looking at the properties/metadata there to see the actual frame rate. Good luck!
I use Plural Eyes full version. I'm curious do I still need to use time code?
If it is working for you, no need to change. I'm just giving you a little background info so that one day when you are hired to shoot on a larger budget production, you'll be all set to use timecode. :)
Thank you so much. I'm all ears when it comes to audio info you give. 👍🏻
Hi sir I need this lemo 5 pin to 4 pin lemo wiring diagram for red camera and 5 pin lemo to 5 pin lemo for Alexa camera wiring diagram sir send me link sir thanks
Best to contact Ambient for wiring diagrams: ambient.de/en/product/timecode-cable-guide/
Sir thanks again for sending reply you send link details showing cable details but I'm asking 5 pin lemo to 4 pin red camera TC input pin diagrams
@@murugeshaudio I'm sorry, I don't have the pin diagrams for RED cameras or any others. Perhaps RED support could help. Best wishes!
Can i use my recorder like Master with this? 18CH is a Master right? If i set all Nanos in CH11?
Hi Silvestro, which recorder are you using?
Hi Curtis! Thanks for the quick response! I use a S.D. 633. I'd like to use the Nanos like the Tentacle Sync. Can i jam the Nano with the 633 and then give it to the camera?
Yes, absolutely! Will just need the lemo to lemo cable to sync the Nanos to the 633. Good luck!
Thanks a lot! Last question, sorry! How should i set up the Nanos in the toolbox app? Which channel?
I just used the default channel. I would stick with the default unless they’re having trouble syncing.
i always record my sound in to the camera so this kind of setup not my choice
+SU ok. Same here for small projects but when working on bigger projects with lots of clips, timecode is nice. On some paid jobs it is a requirement.
Good
Thanks
Hai sir this is murugesh sound Recordist from Singapore and can I get in Singapore also? If you don't mind can you send me shopping online site please
Muruganaudio seriously you don't have search engines in Singapore.
Hi Murugan. Travis here of XN3 Singapore. We're the distributor of Ambient here in Singapore and South East Asia. You can e-mail me at travis@thexn3.com , and I'll see how I may help with your requirements.
Here can't get in Singapore
+Muruganaudio Murugan perhaps at ambient.de they can connect you with their Asia resellers. Good luck!
Ambient or tentacle Sync?
Yes. :) They each have their strengths. Wireless sync - Ambient. Setup and monitor battery status with an iPhone - Tentacle Sync E.
just use tentacle sync
I have both now. The two systems each have their strengths: Tentacle includes a slight price advantage, the software (if you're on Mac), ability to change settings by connecting via wire to smartphone. The Nanos are much better built, sync wirelessly, can change the output level with buttons (rather than having to connect via wire to phone) and can be controlled remotely with a Master Lockit (if you're in the system). Time will tell which I prefer now that I have both.
ok thanks!
One year out, which do you prefer? I have a mixpre 6, and truth be told I don't use time code yet, since most of my work is short films, student films, instructional stuff that is super simple to sync up in post.