Great video. I connected Rode Go and send timecode to Sony A1 from Zoom F6 using Go Receiver plugged into A1 mic jack. Was able to sync recorded audio on F6 with Tentacle Sync software trial. I think you can sync with FCP X, too. I want to upgrade to RØDE Wireless GO II so I can send timecode from F6 on one Rode transmitter (left channel) and another Rode transmitter connected to a Sennheiser MKE-600. This way I can have dual recording that can be synced and I do not have to connect the A1+F6 when shooting.
That’s quite genius. I’d check for the delay when sending it over the wireless go though. May be minimal but definitely worth checking. Also, why not connect the MKE-600 to the F6 or put the F6 right below the camera? Is everything supposed to be handheld or mounted on a tripod?
Hi Chris..thanks for this video...I'm about to step into the timecode world. My question is, does the Zoom F6 have to remain connected to the camera all the time in order to keep the timecode consistent on the camera...or can I just generate the timecode from the F6, connect to my camera and then disconnect the F6 from the camera and be good for the day? The camera is a Sony FX9 by the way which has a BNC connector
When you do have the appropriate cables to connect the camera and audio recorder via the BNC connector, then you should be able to disconnect the two after syncing. I would probably re-sync at least once per 10 hour window to be sure nothing is drifting. I know the F6 has a very accurate quartz clock but I do not know if that is also true for the FX9. But granted they have the TC BNC port so they probably do have a pretty accurate clock built in as well.
@@ChrisSpiegl but the F6 doesn't have a BNC connector. How would you connect it instead to the FX6? Sorry, it's just that I am about to do pretty much the same and wanted to know about the cables ^^'
@@Vesohag There are adapter cables for things like the BNC connector. One company is Tentacle Sync. They sell all kinds of adapters for the 3.5mm Jack to BNC and others in their online shop.
Great video! Cound anyone enlighten me can you do the same thing from BNC timecode output with bnc to minijack cable? Like for example from Zoom F4 BNC timecode out? I.e. Is the BNC timecode signal similar to minijack trs timecode signal?
Just tried this with FX6 timecode out to FS5 mini jack to XLR adapter. Using resolve and shooting a TC generator on ipad. It syncs but with a consistent 4 frame delay.
Hi, and thanks for the great videos. However, it's still not clear how you are sending timecode from the F6 to a DSLR. Can you ignore the Ninja V and, for instance, send Timecode from the F6 directly to a regular GH5? (not the GH5s, which can receive Timecode in a dedicated port). In other words, use a 3.5mm cable between the F6 and GH5 mic port. Cheers!
Yes, what you are describing is absolutely possible. You simply connect the 3.5mm timecode port of the F6 with a 3.5mm mic port of the GH5. Then you will have the timecode signal on the audio channel of your video recording and with software like DaVinci Resolve you then can sync that to metadata time code: czcams.com/video/29CjqfGoKwI/video.html The Atomos Ninja is absolutely not necessary for that setup to work.
@@ChrisSpiegl this is really interesting, this is what I’m trying to do. I usually sync by audio as I find using time code devices with multiple mirrorless cameras very tedious, but I love time code and I use a zoom F6, I have never thought about using the zoom F6 timecode output before. Could this same process work with multiple cameras? For example using a splitter to split the audio cable into multiple audio cables for multiple cameras. Will the time code still transfer? It’s so cool we can convert audio time code in Resolve
@@BRIGHTNIGHTONLINE In theory splitting the timecode with a Left Right Split (to just get the timecode which is sent form the F6) and then a splitter to make it available to all cameras would work. Just don't use any wireless units to try to transfer the signal 🙈
I'm having trouble with this. I have my F6 outputting timecode via 3.5mm cable directly to my A7SIII, which in turn is outputting to a Ninja V via HDMI. When I go to sync them in post (Resolve 18), the F6 time code is actual time of day, as I have selected. But, the camera and Ninja V are off by nearly 5 hours. I can't seem to find anything in settings that would cause it. The timecode is definitely being recorded to audio. I have checked the internal camera recording as well, it is off just like the Ninja.
I have some other videos about that: crsp.li/PlaylistTimecode Or directly the video about the Sync E: crsp.li/SyncE But please note: the mic is a backup for scratch audio. Not a high quality mic.
In your video you mention using a camera connected to a ninja v and a zoom f6 to generate time code. You also indicated using a tentacle sync with that connection, I assume that there is no need to generate time code if you can connect the audio out port of the F6 to the ninja v or camera directly. Also, I am interested in finding out if time code can be generated using your method but also including a tentacle sync E connected to the F6 TC out synced to a tentacle track with the option to connect other mics to the zoom f6.
You can use the setup without a Tentacle Sync when connecting the TC Out port of the F6 to a camera or the Atomos Ninja V. The system can of course be combined with the Sync E + Track E + Zoom F6. I'd start with the Sync E + Track E to be synced. Then you can connect the Sync E to the Zoom F6 to give it Timecode. It's even fancier: the F6 can then run timecode by itself and the Sync E can be connected to another camera for exmaple.
What are the tradeoffs of sending timecode from the recorder to the camera, versus from the camera to the recorder, versus both directions at once? The Sound Devices MixPre-6 II has a micro-hdmi port for timecode input. Would it suffice to send time code in one direction from the camera to the MixPre via this port?
If you stay with zoom f6 near a camera or a ninja V it means you can send line out to the camera, why bother with timecode? It however gave me an idea: what if we could do it wirelessly using DJI mic/rode wireless go or any wireless system.
Because most consumer cameras do not have a Line-Level-Input, and the headphone output on the F6 isn't that great. Additionally, when you record with more than 1 camera, the line signal is kind of useless. Last but not least: you'd lose the 32bit float, which is the whole reason I use the F6 in the first place.
Just purchased the f6 for my zcam s6, with my ninja v. Do you ever timecode in premiere pro? Is it as easy in resolve? While resolve is a great program, I find premiere is more universal in terms of collaborating with client workflows
Hi Jesse, glad you found this video. Sadly Premiere Pro currently only supports meta data timecode and not the audio timecode you'll be recording when you send TC to an audio channel of any sort. If it's meta data timecode then Premiere Pro can do it with no problems at all (but for that to work… you'd have to get the whole Blue and AtomX Timecode module system 🙈). This video may help you in Premiere Pro: czcams.com/video/xSHb30jusJc/video.html But disclaimer: the best solution (if you want a free one) is to just go through Resolve for TC Sync…
Chris thank you for the great video. Can I come out of the f6 timecode output, with a stereo splitter and send 2 timecode signals to my 2 go pro 9 audio inputs? Will this work to keep everything in sync?
Not really, you’d first have to split the signal into left and right channel and from there convert to mono (may already be done by the left right splitter) and then split it again into two lines. Since normally the Timecode plug has one channel as Timecode in and one as out. But theoretically with all that it should be doable.
Thank you for this and your other videos Chris. Can I ask please: When you have synced a camera and the F6 by cable can you then remove the cable or do they need to stay attached. Best, j
If the camera has its own Timecode system and port (like the Canon EOS R5C), then you can remove the cable. However, with cameras like the Canon EOS R or similar types of cameras, which only receive the timecode through the Mic Port and then record the timecode signal to the audio track, you cannot remove the cable. Otherwise, the signal will not be readable by the sync programs.
Question Im using a Sony Nex fs 100 which has HDMI time code out... I want to purchase a zoom F6 audio recorder and want to be able to click record on my videocam and start and stop audio from the camera... so can I use a hdmi splitter that has a 3.5 mm audio out and use a 3.5 mini to trs/ xlr to feed timecode to f6 or can I use a 3.5 to 3.5 from splitter to f6 timecode port and set the parameters to be triggered by my Camera
Hello John, I have never had an opportunity to test this but I don't think that it would work with the HDMI Splitter. Mostly because in this type of setup the Timecode your camera is sending is most likely not an audio signal but instead is encoded into the HDMI signal in some way (you can test this by hooking the hdmi cable up to a monitor of some sort and using headphones to check if there is a high pitched sound coming through). What may work is if your camera has a Timecode port. Then you may be able to use a TRS to TRS cable between the camera and the Zoom F6. But again, I have not tested this since I don't have a camera that has this type of port. Hope that helps.
@@ChrisSpiegl Thanks Chris.. After investigating more I don’t think it will work unless the audio has an hdmi input to interpret the markers. There is no timecode out on the camera except the HDMI port which can be switched of and on. When I press record my display is shown in TC format... Im now thinking possibly a Tentacle box to load code as the master then load code in the F6 as the slave so I can trigger from the Cam? Think that may work?
Nice, do you have any suggestion how to trigger the F6 from the HDMI TC Out? Already try using HDMI to VGA with 3.5mm audio jack, but there is no luck. Thank you.
Hi there Chris. I have a question, do you know if its possible to use Timecode with your android Smartphone? I just started to make videos, and I only have my phone (Xiaomi Mi11). I want to invest 1st in good audio, so would it be possible to use the Zoom F6 or even the new Zoom F3 on my phone and this way there is timecode or its already sync and there is no need to do anything in postproduction. Thank you very much.
You could, but it would likely be off by a few frames. And you might as well just purchase a Deity TC-1 or Tentacle Sync E set if you're investing into something like this.
Hey Chris, nice video. Thx for the input. We're shooting on Ninja V with the Zoom F6.. Originally we used the Atomos Sync adapter with the Zoom Bluetooth dongle.. but after a day it stopped working. (Do you know what could be the issue?) Besides that... if I unplug the AUX Cable, is the TC on both devices still the same or does the Ninja jump back to it's originial TC? Thx in advance Tom
Hi Tom, first up, I do not have any experience with the Bluetooth / Atomos Sync adapter. In using the AUX Cable: the Atomos Ninja does not really "take the TC in" but rather it simply gets recorded onto the audio track which you can later use to sync to the F6 timecode.
Hi Chris. Following your advice, I went a step further and set up my Zoom F6 output for a scratch track and time code together on my GH5. As the output of the F6 is way too hot for the GH5, I built a 2-channel line-mic adjustable attenuator and an adapter cable to do the following: Left channel scratch track; right channel time code (out) from the F6. I then set the F6 output matrix to feed all regular sound out the left channel. This works great, I have a clean-sounding scratch track on the left and timecode on the right going into my GH5. However, there is a tiny bit of timecode bleed, just above the noise floor, into the left channel even though the TC signal has been attenuated (through the device I built) to max -12db on the GH5. I tried setting the F6 output matrix to "pre" from all mic sources but it made no difference. Any thoughts on this? Cheers!
That sounds like a lovely hack you built there for yourself. What you are describing is something I have experienced in other setups as well. That line signals bleed into the other channel. I am not that deep in the electronics of these things but I have a feeling this could only be remedied with shielding and maybe the attenuation to be right after the signal is actually input into the system (and not after it has traveled next to the other cords for a while). Maybe those are some ideas?
I was thinking of doing this too. I want a mono scratch channel that's good enough to use in an emergency and timecode one the other channel. (This is for a production that ends up with dual mono audio anyway.)
@@ultralightgearpodcast5432 There is always an option to take a Left/Right splitter cable and have timecode on one side and then the audio from somewhere on the other.
@@ChrisSpiegl Thanks again for the response. As I built the little attenuator box to work with cameras that receive timecode on the other channel (like BlackMagic), I simply flipped the switch so the GH5 receives TC on the left and scratch on the right--et, voila! The bleed disappeared. (And either way it's great to be able to lower the TC signal which is otherwise deafening). Granted, this still isn't a rock-sold solution, so I'll be making a V2 of the box and adapter cable. I'll keep you posted. BTW, Chris, I dare say a video on doing the TC post-sync in FCPX (without going thru Resolve), if possible, would be a hit. :-)
@@denialvanish Hi Denial, thanks for your update. Maybe some boxes like you are building there would actually also be interesting to offer as a product. However, it's probably a pretty niche market 🙈. And in terms of syncing in FCPX, I don't use that suite and so I would have to get the Trial and see if I can get it to work there. Maybe in the future, thanks for the idea 🌸. Happy shooting 🎥.
Very new to Audio/Sound recording. On my A7s iii if plug recording device (F6 /or Mix Pre 3 ii) into camera and also a mic into the F6, will the onboard mic still capture sound? And if so will the in camera sound and mic of the F6 (or Mix Pre) be able to be synced on computer? Thank you tons for this video!
If you connect the Line out of the F6 to your camera the mic built into the camera will not be recorded. The camera will record the mixdown of the F6 or MixPre3.
Good day and thanks for this! Will this method also work with a BNC to 3.5 mm jack? Some older Recorders (like the Zoom f4) have Timecode IN / Out via BNC.
hi, i attached it to atomos ninja v as you described but did not get any audio coming into the Ninja V. I tried attaching different mics to the Ninja but didn't get any signal. I checked the meters and audio menus and tried every possible combination of settings. No luck. Any suggestions? F6 was outputting audio time code.
If you plugged in the right port (headphone port and timecode port are pretty easy to confuse on the F6) I am not sure what else could be going on. I have not experienced this. Question for further clarification: Do you have a headset attached to the Ninja? Or do you try to hear the timecode signal on a recorded file back at your computer?
Hi, thanks for the video, quick question, is it an automatic sync when u plug the 3.5mm cable in or do you need to change some settings on the timecode window of the ninja v…thanks
The timecode will not be synced in meta data. When you use this sync method with the mic in port of the Atomos or the Camera, then you will have the timecode recorded on the audio track and still have to sync in post processing (Resolve can do this natively).
Maybe you know how to sync 29.97ND or DF audio and 59.94 FPS video from camera with TC audiotrack from Zoom-F6 ? When I try to do the same in Davinci, I have out of sync video as result. I have not so problems, if camera FPS are similar to audio FPS.
Hello Juri, I have not had this issue before. I generally try to use the same TC and video FPS whenever possible. One thing you could try is test the TentacleSync application (if you are on macOS). That one may be able to do it anyways.
That’s an interesting question. Sadly I don’t have two F6 to test this with. My theory would be this: Use a left right splitter and plug it into one of the F6 then another and into the second F6. And to connect you’d then connect the right channel of the sending one to the left of the receiving one with a TRS (possibly mono) cable. It may be the other way around so left to right but I am not sure right now. Then that should sync the Timecode between the two.
In theory it is possible, however, it's a bit more complicated. With the Zoom F6, the Timecode port uses one channel to send and one to receive time-code. So a Left/Right Splitter would probably not work because then one camera receives the signal the other not. However, one of those "headphone splitters" so that two people can listen to the same music for example, that could work. I am not at home, otherwise I could test this for you. Good luck.
@@ChrisSpiegl Hi. Yes, I was considering a headphone splitter, due to the one sided sending issue. I’m waiting on my F6 to arrive at the moment, but I will try and let you know. Do you know what happens if you were to use a mono lead to send timecode from the F6. Would the information be lost or just present on a mono channel? Once again, just interesting to know! Best wishes. Joel.
@@ChrisSpiegl Hi. I just finally tried this with a stereo headphone splitter with 5 separate stereo outputs. All cameras synced perfectly in Resolve! Then synced to the audio file from the F6 using timecode and a multicam clip. Absolutely spot on. Though it’s slightly annoying having audio wires running everywhere, it’s a hell of a lot cheaper than the alternatives! No problem for interviews etc. Thanks for the info, very much appreciated. Best wishes. Joel.
@@JoelPurnell That's an incredible setup and so glad it worked out for your like that. I think it's genius for exactly that reason of cost saving and that it's not really an issue for interviews where you don't have to move the cameras. 👍
Excellent video! I didn’t know I could do this without a timecode device. I wish more people talked about this. Well done
Glad it was helpful! Thank you 🌸.
To clarify, the F6 is a timecode device tho.
Great video. I connected Rode Go and send timecode to Sony A1 from Zoom F6 using Go Receiver plugged into A1 mic jack. Was able to sync recorded audio on F6 with Tentacle Sync software trial. I think you can sync with FCP X, too. I want to upgrade to RØDE Wireless GO II so I can send timecode from F6 on one Rode transmitter (left channel) and another Rode transmitter connected to a Sennheiser MKE-600. This way I can have dual recording that can be synced and I do not have to connect the A1+F6 when shooting.
That’s quite genius.
I’d check for the delay when sending it over the wireless go though. May be minimal but definitely worth checking.
Also, why not connect the MKE-600 to the F6 or put the F6 right below the camera? Is everything supposed to be handheld or mounted on a tripod?
Hi Chris..thanks for this video...I'm about to step into the timecode world. My question is, does the Zoom F6 have to remain connected to the camera all the time in order to keep the timecode consistent on the camera...or can I just generate the timecode from the F6, connect to my camera and then disconnect the F6 from the camera and be good for the day? The camera is a Sony FX9 by the way which has a BNC connector
When you do have the appropriate cables to connect the camera and audio recorder via the BNC connector, then you should be able to disconnect the two after syncing.
I would probably re-sync at least once per 10 hour window to be sure nothing is drifting.
I know the F6 has a very accurate quartz clock but I do not know if that is also true for the FX9. But granted they have the TC BNC port so they probably do have a pretty accurate clock built in as well.
@@ChrisSpiegl but the F6 doesn't have a BNC connector. How would you connect it instead to the FX6?
Sorry, it's just that I am about to do pretty much the same and wanted to know about the cables ^^'
@@Vesohag There are adapter cables for things like the BNC connector. One company is Tentacle Sync. They sell all kinds of adapters for the 3.5mm Jack to BNC and others in their online shop.
@@ChrisSpiegl oooh, okay! Thank you!
Great video! Cound anyone enlighten me can you do the same thing from BNC timecode output with bnc to minijack cable? Like for example from Zoom F4 BNC timecode out? I.e. Is the BNC timecode signal similar to minijack trs timecode signal?
Just tried this with FX6 timecode out to FS5 mini jack to XLR adapter.
Using resolve and shooting a TC generator on ipad. It syncs but with a consistent 4 frame delay.
Hi, and thanks for the great videos. However, it's still not clear how you are sending timecode from the F6 to a DSLR. Can you ignore the Ninja V and, for instance, send Timecode from the F6 directly to a regular GH5? (not the GH5s, which can receive Timecode in a dedicated port). In other words, use a 3.5mm cable between the F6 and GH5 mic port. Cheers!
Yes, what you are describing is absolutely possible. You simply connect the 3.5mm timecode port of the F6 with a 3.5mm mic port of the GH5. Then you will have the timecode signal on the audio channel of your video recording and with software like DaVinci Resolve you then can sync that to metadata time code: czcams.com/video/29CjqfGoKwI/video.html
The Atomos Ninja is absolutely not necessary for that setup to work.
@@ChrisSpiegl this is really interesting, this is what I’m trying to do. I usually sync by audio as I find using time code devices with multiple mirrorless cameras very tedious, but I love time code and I use a zoom F6, I have never thought about using the zoom F6 timecode output before.
Could this same process work with multiple cameras? For example using a splitter to split the audio cable into multiple audio cables for multiple cameras.
Will the time code still transfer? It’s so cool we can convert audio time code in Resolve
@@BRIGHTNIGHTONLINE In theory splitting the timecode with a Left Right Split (to just get the timecode which is sent form the F6) and then a splitter to make it available to all cameras would work. Just don't use any wireless units to try to transfer the signal 🙈
Thanks!
You're welcome. I hope this makes your video production easier to sync in post 👍.
I'm having trouble with this. I have my F6 outputting timecode via 3.5mm cable directly to my A7SIII, which in turn is outputting to a Ninja V via HDMI.
When I go to sync them in post (Resolve 18), the F6 time code is actual time of day, as I have selected. But, the camera and Ninja V are off by nearly 5 hours. I can't seem to find anything in settings that would cause it. The timecode is definitely being recorded to audio. I have checked the internal camera recording as well, it is off just like the Ninja.
Great video, thanks. 👍🏿👍🏿
Thank you, I appreciate that 🌸.
What if your recorder has a timecode 5 pin Lemo connector? Pin 2 is IN & Pin 5 is OUT?
Nice video.
but where is the tentacle sync with the build in mic that you mentioned in this setup?
I have some other videos about that:
crsp.li/PlaylistTimecode
Or directly the video about the Sync E:
crsp.li/SyncE
But please note: the mic is a backup for scratch audio. Not a high quality mic.
In your video you mention using a camera connected to a ninja v and a zoom f6 to generate time code. You also indicated using a tentacle sync with that connection, I assume that there is no need to generate time code if you can connect the audio out port of the F6 to the ninja v or camera directly. Also, I am interested in finding out if time code can be generated using your method but also including a tentacle sync E connected to the F6 TC out synced to a tentacle track with the option to connect other mics to the zoom f6.
You can use the setup without a Tentacle Sync when connecting the TC Out port of the F6 to a camera or the Atomos Ninja V.
The system can of course be combined with the Sync E + Track E + Zoom F6.
I'd start with the Sync E + Track E to be synced. Then you can connect the Sync E to the Zoom F6 to give it Timecode. It's even fancier: the F6 can then run timecode by itself and the Sync E can be connected to another camera for exmaple.
thank you soooo much!
Glad it helped and thank you for your comment 🌸.
Great video. Where can I buy the same 3.5mm cable you show in this video?
What are the tradeoffs of sending timecode from the recorder to the camera, versus from the camera to the recorder, versus both directions at once?
The Sound Devices MixPre-6 II has a micro-hdmi port for timecode input. Would it suffice to send time code in one direction from the camera to the MixPre via this port?
If you stay with zoom f6 near a camera or a ninja V it means you can send line out to the camera, why bother with timecode? It however gave me an idea: what if we could do it wirelessly using DJI mic/rode wireless go or any wireless system.
Because most consumer cameras do not have a Line-Level-Input, and the headphone output on the F6 isn't that great. Additionally, when you record with more than 1 camera, the line signal is kind of useless. Last but not least: you'd lose the 32bit float, which is the whole reason I use the F6 in the first place.
Just purchased the f6 for my zcam s6, with my ninja v. Do you ever timecode in premiere pro? Is it as easy in resolve? While resolve is a great program, I find premiere is more universal in terms of collaborating with client workflows
Hi Jesse, glad you found this video.
Sadly Premiere Pro currently only supports meta data timecode and not the audio timecode you'll be recording when you send TC to an audio channel of any sort. If it's meta data timecode then Premiere Pro can do it with no problems at all (but for that to work… you'd have to get the whole Blue and AtomX Timecode module system 🙈).
This video may help you in Premiere Pro: czcams.com/video/xSHb30jusJc/video.html
But disclaimer: the best solution (if you want a free one) is to just go through Resolve for TC Sync…
Chris thank you for the great video. Can I come out of the f6 timecode output, with a stereo splitter and send 2 timecode signals to my 2 go pro 9 audio inputs? Will this work to keep everything in sync?
Not really, you’d first have to split the signal into left and right channel and from there convert to mono (may already be done by the left right splitter) and then split it again into two lines. Since normally the Timecode plug has one channel as Timecode in and one as out.
But theoretically with all that it should be doable.
Thank you for this and your other videos Chris. Can I ask please: When you have synced a camera and the F6 by cable can you then remove the cable or do they need to stay attached. Best, j
Sorry, you have already answered this question below an older comment.
hi! i have the same question, could you please tell me? i can't find the other comment. Thanks!
@@victoriacrespi8574 I believe you can remove the cable and they will stay synced (sunk?) for quite a long time (ie hours)
If the camera has its own Timecode system and port (like the Canon EOS R5C), then you can remove the cable. However, with cameras like the Canon EOS R or similar types of cameras, which only receive the timecode through the Mic Port and then record the timecode signal to the audio track, you cannot remove the cable. Otherwise, the signal will not be readable by the sync programs.
@@ChrisSpiegl Thanks
Question Im using a Sony Nex fs 100 which has HDMI time code out... I want to purchase a zoom F6 audio recorder and want to be able to click record on my videocam and start and stop audio from the camera... so can I use a hdmi splitter that has a 3.5 mm audio out and use a 3.5 mini to trs/ xlr to feed timecode to f6 or can I use a 3.5 to 3.5 from splitter to f6 timecode port and set the parameters to be triggered by my Camera
Hello John, I have never had an opportunity to test this but I don't think that it would work with the HDMI Splitter. Mostly because in this type of setup the Timecode your camera is sending is most likely not an audio signal but instead is encoded into the HDMI signal in some way (you can test this by hooking the hdmi cable up to a monitor of some sort and using headphones to check if there is a high pitched sound coming through).
What may work is if your camera has a Timecode port. Then you may be able to use a TRS to TRS cable between the camera and the Zoom F6. But again, I have not tested this since I don't have a camera that has this type of port.
Hope that helps.
@@ChrisSpiegl Thanks Chris.. After investigating more I don’t think it will work unless the audio has an hdmi input to interpret the markers. There is no timecode out on the camera except the HDMI port which can be switched of and on. When I press record my display is shown in TC format... Im now thinking possibly a Tentacle box to load code as the master then load code in the F6 as the slave so I can trigger from the Cam? Think that may work?
Nice, do you have any suggestion how to trigger the F6 from the HDMI TC Out?
Already try using HDMI to VGA with 3.5mm audio jack, but there is no luck.
Thank you.
Hi there Chris. I have a question, do you know if its possible to use Timecode with your android Smartphone? I just started to make videos, and I only have my phone (Xiaomi Mi11). I want to invest 1st in good audio, so would it be possible to use the Zoom F6 or even the new Zoom F3 on my phone and this way there is timecode or its already sync and there is no need to do anything in postproduction. Thank you very much.
Could you use a wireless system like rode wireless go to send audio timecode into a video recording instead of doing it by wire?
You could, but it would likely be off by a few frames. And you might as well just purchase a Deity TC-1 or Tentacle Sync E set if you're investing into something like this.
Awesome!
Thank you! Cheers!
Hey Chris,
nice video. Thx for the input.
We're shooting on Ninja V with the Zoom F6.. Originally we used the Atomos Sync adapter with the Zoom Bluetooth dongle.. but after a day it stopped working.
(Do you know what could be the issue?)
Besides that... if I unplug the AUX Cable, is the TC on both devices still the same or does the Ninja jump back to it's originial TC?
Thx in advance
Tom
Hi Tom, first up, I do not have any experience with the Bluetooth / Atomos Sync adapter.
In using the AUX Cable: the Atomos Ninja does not really "take the TC in" but rather it simply gets recorded onto the audio track which you can later use to sync to the F6 timecode.
If I forgot to plug the time code wire in the camera can I still sync the audio to the footage on premiere?
The only way would be to manually sync it all up.
Which is why I still do a clap sync most of the time just to have "something".
Hi Chris. Following your advice, I went a step further and set up my Zoom F6 output for a scratch track and time code together on my GH5. As the output of the F6 is way too hot for the GH5, I built a 2-channel line-mic adjustable attenuator and an adapter cable to do the following: Left channel scratch track; right channel time code (out) from the F6. I then set the F6 output matrix to feed all regular sound out the left channel. This works great, I have a clean-sounding scratch track on the left and timecode on the right going into my GH5. However, there is a tiny bit of timecode bleed, just above the noise floor, into the left channel even though the TC signal has been attenuated (through the device I built) to max -12db on the GH5. I tried setting the F6 output matrix to "pre" from all mic sources but it made no difference. Any thoughts on this? Cheers!
That sounds like a lovely hack you built there for yourself.
What you are describing is something I have experienced in other setups as well. That line signals bleed into the other channel. I am not that deep in the electronics of these things but I have a feeling this could only be remedied with shielding and maybe the attenuation to be right after the signal is actually input into the system (and not after it has traveled next to the other cords for a while).
Maybe those are some ideas?
I was thinking of doing this too. I want a mono scratch channel that's good enough to use in an emergency and timecode one the other channel. (This is for a production that ends up with dual mono audio anyway.)
@@ultralightgearpodcast5432 There is always an option to take a Left/Right splitter cable and have timecode on one side and then the audio from somewhere on the other.
@@ChrisSpiegl Thanks again for the response. As I built the little attenuator box to work with cameras that receive timecode on the other channel (like BlackMagic), I simply flipped the switch so the GH5 receives TC on the left and scratch on the right--et, voila! The bleed disappeared. (And either way it's great to be able to lower the TC signal which is otherwise deafening). Granted, this still isn't a rock-sold solution, so I'll be making a V2 of the box and adapter cable. I'll keep you posted. BTW, Chris, I dare say a video on doing the TC post-sync in FCPX (without going thru Resolve), if possible, would be a hit. :-)
@@denialvanish Hi Denial, thanks for your update. Maybe some boxes like you are building there would actually also be interesting to offer as a product. However, it's probably a pretty niche market 🙈.
And in terms of syncing in FCPX, I don't use that suite and so I would have to get the Trial and see if I can get it to work there. Maybe in the future, thanks for the idea 🌸.
Happy shooting 🎥.
Very new to Audio/Sound recording. On my A7s iii if plug recording device (F6 /or Mix Pre 3 ii) into camera and also a mic into the F6, will the onboard mic still capture sound? And if so will the in camera sound and mic of the F6 (or Mix Pre) be able to be synced on computer? Thank you tons for this video!
If you connect the Line out of the F6 to your camera the mic built into the camera will not be recorded. The camera will record the mixdown of the F6 or MixPre3.
@@ChrisSpiegl Thank you so much!
Good day and thanks for this! Will this method also work with a BNC to 3.5 mm jack? Some older Recorders (like the Zoom f4) have Timecode IN / Out via BNC.
I have not tested this, but I would assume it works? Probably has the same issue I describe with the Mic vs Line Level though.
did you test it , already? i'm asking the same for my zoom f8
hi, i attached it to atomos ninja v as you described but did not get any audio coming into the Ninja V. I tried attaching different mics to the Ninja but didn't get any signal. I checked the meters and audio menus and tried every possible combination of settings. No luck. Any suggestions? F6 was outputting audio time code.
If you plugged in the right port (headphone port and timecode port are pretty easy to confuse on the F6) I am not sure what else could be going on.
I have not experienced this.
Question for further clarification:
Do you have a headset attached to the Ninja?
Or do you try to hear the timecode signal on a recorded file back at your computer?
Hi, thanks for the video, quick question, is it an automatic sync when u plug the 3.5mm cable in or do you need to change some settings on the timecode window of the ninja v…thanks
The timecode will not be synced in meta data. When you use this sync method with the mic in port of the Atomos or the Camera, then you will have the timecode recorded on the audio track and still have to sync in post processing (Resolve can do this natively).
@@ChrisSpiegl I see…thanks
Maybe you know how to sync 29.97ND or DF audio and 59.94 FPS video from camera with TC audiotrack from Zoom-F6 ? When I try to do the same in Davinci, I have out of sync video as result. I have not so problems, if camera FPS are similar to audio FPS.
Hello Juri, I have not had this issue before. I generally try to use the same TC and video FPS whenever possible. One thing you could try is test the TentacleSync application (if you are on macOS). That one may be able to do it anyways.
How can I Transfer the Timecode from one F6 to a second F6 ?
That’s an interesting question. Sadly I don’t have two F6 to test this with.
My theory would be this:
Use a left right splitter and plug it into one of the F6 then another and into the second F6. And to connect you’d then connect the right channel of the sending one to the left of the receiving one with a TRS (possibly mono) cable.
It may be the other way around so left to right but I am not sure right now.
Then that should sync the Timecode between the two.
Great video! Out of curiosity, could you use a stereo splitter cable to send timecode to multiple cameras at once?
In theory it is possible, however, it's a bit more complicated.
With the Zoom F6, the Timecode port uses one channel to send and one to receive time-code.
So a Left/Right Splitter would probably not work because then one camera receives the signal the other not.
However, one of those "headphone splitters" so that two people can listen to the same music for example, that could work.
I am not at home, otherwise I could test this for you. Good luck.
@@ChrisSpiegl Hi. Yes, I was considering a headphone splitter, due to the one sided sending issue. I’m waiting on my F6 to arrive at the moment, but I will try and let you know. Do you know what happens if you were to use a mono lead to send timecode from the F6. Would the information be lost or just present on a mono channel? Once again, just interesting to know! Best wishes. Joel.
@@JoelPurnell I think I did try this and it showed up just as a mono signal. Could work.
@@ChrisSpiegl Hi. I just finally tried this with a stereo headphone splitter with 5 separate stereo outputs. All cameras synced perfectly in Resolve! Then synced to the audio file from the F6 using timecode and a multicam clip. Absolutely spot on. Though it’s slightly annoying having audio wires running everywhere, it’s a hell of a lot cheaper than the alternatives! No problem for interviews etc. Thanks for the info, very much appreciated. Best wishes. Joel.
@@JoelPurnell That's an incredible setup and so glad it worked out for your like that. I think it's genius for exactly that reason of cost saving and that it's not really an issue for interviews where you don't have to move the cameras. 👍