The Most Advanced Timecode Synchronizing Software on macOS — Tentacle Sync Studio

00:28:56
https://www.youtube.com/watch?v=o8OrUt_J1cg

Ringkasan

TLDRThe video provides an in-depth look at synchronizing audio and video using time code synchronization, focusing on the Tentacle Sync devices and Tentacle Sync Studio software. It explains the advantages of using time codes for flexibility in recording and ease of post-production synchronization. The presenter shares personal insights and experiences with setting up the devices and using the software, highlighting its capabilities for batch syncing and transcoding, while also noting the cost and availability of trial versions. Overall, it emphasizes the benefits of utilizing time code in multimedia workflows.

Takeaways

  • 🎥 Different methods exist for audio and video synchronization.
  • ⏳ Time code synchronization allows flexibility in recording.
  • 🖥️ Tentacle Sync Studio offers a user-friendly interface for syncing.
  • 💡 Time code can improve efficiency in post-production workflows.
  • 📊 The software supports multiple file formats and time code systems.
  • 💰 Tentacle Sync Studio costs 149 euros for a full license.
  • ✅ A free trial is available for testing the software.
  • 🔄 The software can also transcode files while syncing.
  • 🔔 Advanced audio time code reading algorithm is effective even with noisy signals.
  • ❓ Engagement with the audience through comments and questions is encouraged.

Garis waktu

  • 00:00:00 - 00:05:00

    The video discusses various methods to synchronize audio and video, particularly focusing on timecode synchronization and the benefits it offers, such as the ability to sync devices even if they are not clap-synced. The presenter highlights the importance of timecode in helping streamline the synchronization process, mentioning the software Tentacle Sync Studio that aids in managing this task effectively.

  • 00:05:00 - 00:10:00

    Tentacle Sync Studio is introduced as a batch synchronization tool, compatible with various timecode systems and file formats. The software can embed timecode into video files and offers transcoding options, allowing users to create proxy files or high-res outputs, which simplifies workflows.

  • 00:10:00 - 00:15:00

    The presenter shares their journey of discovering Tentacle Sync while trying to work with timecode on other devices. They emphasize the time-saving aspect of using dedicated software rather than trying to develop a solution themselves, underlining the efficiency gained through such tools.

  • 00:15:00 - 00:20:00

    A demonstration of the Tentacle Sync Studio software is provided, showcasing how it organizes and synchronizes audio and video clips easily. The software presents various metadata and settings that allow for quick adjustments and confirm that files are properly synchronized based on the timecode information.

  • 00:20:00 - 00:28:56

    In comparison to manual syncing methods in editing software like Premiere Pro, Tentacle Sync Studio streamlines the process significantly. It allows users to export synchronized timelines easily, saving hours of editing time. The presenter encourages viewers to consider how they manage timecode synchronization and invites them to discuss their experiences or questions in the comments.

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Peta Pikiran

Video Tanya Jawab

  • What is time code synchronization?

    Time code synchronization is a method to align audio and video files based on time code information embedded in their metadata or as an audio signal.

  • What devices are mentioned for time code synchronization?

    The video mentions the Track E and Sync E devices from Tentacle Sync.

  • Is there a software for time code synchronization?

    Yes, the Tentacle Sync Studio application is designed for easier time code synchronization of audio and video.

  • Can Tentacle Sync Studio work on Windows?

    Yes, there is a Windows version available, though it's reported to be less advanced than the Mac version.

  • How much does Tentacle Sync Studio cost?

    The Tentacle Sync Studio software costs 149 euros.

  • What are the benefits of time code synchronization?

    It allows for easier synchronization of audio and video files without needing clap sync, and can automate the syncing process in post-production.

  • Does Tentacle Sync Studio support various file formats?

    Yes, it supports multiple time code systems and file formats.

  • Is there a free trial available for Tentacle Sync Studio?

    Yes, a free trial is available but with limited features.

  • What is a potential downside of using time code synchronization?

    Using Tentacle Sync Studio and syncing large files may take significant processing time, which can block other functions on your computer.

  • How can I provide feedback or ask questions regarding Tentacle Sync Studio?

    You can leave comments on the video for feedback or questions.

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Gulir Otomatis:
  • 00:00:00
    when talking about synchronizing audio
  • 00:00:01
    and video there are tons of different
  • 00:00:02
    ways how you can achieve that
  • 00:00:04
    you can match the waveform you can clap
  • 00:00:06
    sync you can also
  • 00:00:08
    look at the metadata and use something
  • 00:00:10
    like time code synchronization
  • 00:00:12
    now i have talked about the devices like
  • 00:00:14
    the track e
  • 00:00:16
    as well as the sync eve from tentacle
  • 00:00:18
    sync since they have
  • 00:00:19
    been provided to me a couple of months
  • 00:00:21
    ago a couple of times
  • 00:00:23
    today in this video i want to show you
  • 00:00:25
    the application that these devices also
  • 00:00:27
    come with
  • 00:00:28
    but you can also purchase individually
  • 00:00:31
    because it actually helps you a ton
  • 00:00:33
    in synchronizing your audio and video
  • 00:00:35
    based on time code synchronization
  • 00:00:37
    now timecode is something that can
  • 00:00:39
    either be written into the metadata of
  • 00:00:41
    your files so this is the audio and
  • 00:00:43
    video files
  • 00:00:44
    or it can also be provided by a audio
  • 00:00:47
    signal
  • 00:00:48
    which is a sound and that is actually
  • 00:00:52
    also something that i
  • 00:00:53
    already showcased and described a little
  • 00:00:55
    better in my video about
  • 00:00:57
    time code synchronization and what it
  • 00:00:58
    actually is now these two different
  • 00:01:00
    types of time code can then be used
  • 00:01:02
    on your computer when you're ingesting
  • 00:01:04
    all your files
  • 00:01:05
    to easily synchronize everything back
  • 00:01:07
    together the benefits of that are
  • 00:01:09
    covered in the other video that i just
  • 00:01:10
    mentioned and is also linked
  • 00:01:12
    down in the description now the two main
  • 00:01:14
    benefits that come with timecode
  • 00:01:15
    synchronization are
  • 00:01:16
    that you can start and stop your devices
  • 00:01:18
    whenever you want
  • 00:01:20
    and you will still be able to
  • 00:01:21
    synchronize things together despite
  • 00:01:23
    them not being clap synced or anything
  • 00:01:26
    like that
  • 00:01:26
    and then back at your workstation you
  • 00:01:28
    can actually let a computer program do
  • 00:01:30
    all the work of syncing everything up
  • 00:01:32
    neatly onto your timeline now that's
  • 00:01:35
    exactly where we are going to jump in
  • 00:01:36
    today
  • 00:01:37
    with the tentacle sync studio because
  • 00:01:40
    there are actually not that many
  • 00:01:42
    applications out there that do timecode
  • 00:01:44
    synchronization
  • 00:01:45
    really really nicely and i have to say
  • 00:01:48
    the tentaclesync studio is definitely
  • 00:01:50
    one of those programs that just makes
  • 00:01:53
    life that much easier
  • 00:01:55
    if you are doing this type of work on
  • 00:01:57
    and on again
  • 00:01:58
    now there is a way to do this with
  • 00:02:00
    davinci resolve as well
  • 00:02:01
    even in the free version so you have
  • 00:02:04
    possibilities there and i will make a
  • 00:02:06
    video specifically about the workflow in
  • 00:02:08
    davinci resolve
  • 00:02:09
    with the exact same data set that i am
  • 00:02:11
    demonstrating here
  • 00:02:12
    however if you are purchasing any of the
  • 00:02:15
    tentacle sync devices like the track e
  • 00:02:17
    or the sync eset then you automatically
  • 00:02:20
    also get a license of the tentacle sync
  • 00:02:23
    studio software
  • 00:02:24
    actually there's a bit of a backstory to
  • 00:02:25
    how i got to know tentacles sync and it
  • 00:02:28
    has everything to do with the sync
  • 00:02:29
    studio software
  • 00:02:30
    because a couple of months ago i
  • 00:02:32
    actually started to work with timecode
  • 00:02:34
    or wanted to start to work with timecode
  • 00:02:36
    as i found out
  • 00:02:37
    that the zoom f6 has a timecode out as
  • 00:02:40
    well as
  • 00:02:41
    in port now what i was trying to do is i
  • 00:02:44
    was trying to
  • 00:02:44
    link that timecode out to my canon eos r
  • 00:02:48
    so that then i would be able to
  • 00:02:50
    synchronize based on time code
  • 00:02:53
    however what i also learned is that to
  • 00:02:55
    be able to do that synchronization i
  • 00:02:57
    would actually need a program
  • 00:02:59
    that can understand the audio time code
  • 00:03:01
    signal
  • 00:03:02
    and then use the metadata of the zoom
  • 00:03:05
    f6s
  • 00:03:06
    files and sync those things up now there
  • 00:03:09
    aren't really that many software
  • 00:03:11
    solutions
  • 00:03:11
    out there that i was able to find and
  • 00:03:13
    the tentacle sync software was one of
  • 00:03:15
    the ones
  • 00:03:16
    that i thought about getting now i'm
  • 00:03:18
    also a programmer so i even started to
  • 00:03:21
    kind of develop a
  • 00:03:22
    framework in node.js to try to read wav
  • 00:03:25
    files as well as video files understand
  • 00:03:28
    how the pattern of the smpte timecode
  • 00:03:31
    works
  • 00:03:31
    and also be able to programmatically
  • 00:03:33
    recognize the time code frame rate and
  • 00:03:36
    such things that is actually
  • 00:03:37
    encoded into that information however
  • 00:03:40
    that quickly became a task for multiple
  • 00:03:43
    days worth of work
  • 00:03:44
    and that actually also reminded me of
  • 00:03:47
    this kind of
  • 00:03:48
    thought pattern that you should probably
  • 00:03:51
    not
  • 00:03:51
    spend hours and hours or even days of
  • 00:03:54
    your own time
  • 00:03:55
    if you can purchase a tool that can do
  • 00:03:57
    the same thing
  • 00:03:58
    for you now the tentacle sync studio is
  • 00:04:01
    a software that's not necessarily super
  • 00:04:03
    cheap however if you compare to the time
  • 00:04:06
    saved by
  • 00:04:07
    either not developing it yourself or
  • 00:04:10
    the time saved that you don't need to
  • 00:04:12
    spend in synchronizing audio and video
  • 00:04:14
    tracks
  • 00:04:15
    in the back end then the software
  • 00:04:17
    quickly becomes a no-brainer
  • 00:04:19
    so i was just moments away from
  • 00:04:21
    purchasing the software
  • 00:04:22
    when i actually reached out to get a
  • 00:04:24
    couple more information pieces about
  • 00:04:26
    the software and also how it all works
  • 00:04:29
    and that's actually where all of this
  • 00:04:31
    started and we had a phone call
  • 00:04:33
    and that's where they offered me to send
  • 00:04:35
    to track e as well as to sync e
  • 00:04:37
    so that i would be able to use those in
  • 00:04:40
    my own work as well as
  • 00:04:42
    make videos for you about time code
  • 00:04:44
    synchronization
  • 00:04:45
    how all of that works and with that of
  • 00:04:47
    course also provide
  • 00:04:48
    information pieces about their products
  • 00:04:51
    i have not been paid by tentaclesync to
  • 00:04:53
    make these videos or say anything that
  • 00:04:55
    i don't want to say i just was provided
  • 00:04:58
    these devices
  • 00:05:00
    but so it all started with this software
  • 00:05:03
    and
  • 00:05:03
    i think that it actually is a really
  • 00:05:05
    really cool tool it's something that you
  • 00:05:07
    don't necessarily see
  • 00:05:08
    thrown around a whole lot because
  • 00:05:10
    timecode synchronization is not
  • 00:05:12
    necessarily something that everybody's
  • 00:05:13
    doing
  • 00:05:14
    however in that area i do believe that
  • 00:05:17
    it is pretty much the best software
  • 00:05:18
    on market but what is the software doing
  • 00:05:21
    and how does it actually interact with
  • 00:05:23
    your files and i think for that it is
  • 00:05:25
    time to jump over to the screen
  • 00:05:27
    and first have a look at the website now
  • 00:05:30
    the temptacle sync studio
  • 00:05:32
    is a tool to batch time code synchronize
  • 00:05:35
    your
  • 00:05:35
    clips so that you don't have to do that
  • 00:05:38
    manually or
  • 00:05:39
    even just trying to align certain things
  • 00:05:42
    yourself you don't have to do any of
  • 00:05:43
    that
  • 00:05:44
    as long as your clips have time code
  • 00:05:46
    synchronization information so the
  • 00:05:48
    smpt time code either in the file
  • 00:05:51
    metadata
  • 00:05:52
    or in the audio channel now you can
  • 00:05:54
    download a free
  • 00:05:55
    trial of this software so that's
  • 00:05:57
    definitely a possibility
  • 00:05:59
    but it is rather limited the really cool
  • 00:06:01
    thing about this software is that it
  • 00:06:03
    actually works for pretty much
  • 00:06:04
    any time code based system and you will
  • 00:06:07
    find that it also supports
  • 00:06:09
    a lot of different file formats as well
  • 00:06:12
    as
  • 00:06:13
    audio time code formats and such things
  • 00:06:15
    so it's not
  • 00:06:16
    limited to the devices that tentacle
  • 00:06:18
    sync produces
  • 00:06:20
    but rather it is a tool that actually
  • 00:06:22
    works with pretty much any time code
  • 00:06:23
    system
  • 00:06:24
    now as you can see on the website you
  • 00:06:25
    can find a lot of information there
  • 00:06:27
    but we're also going to do a deep dive
  • 00:06:29
    into the application itself
  • 00:06:31
    in just a moment now one something that
  • 00:06:33
    i want to highlight here is
  • 00:06:35
    that they are actually not just
  • 00:06:37
    providing the timecode synchronization
  • 00:06:39
    but
  • 00:06:39
    you can also embed your timecode
  • 00:06:42
    information then
  • 00:06:43
    into the video files if you choose to do
  • 00:06:45
    that and not just
  • 00:06:46
    that they're also providing a
  • 00:06:48
    transcoding service or a transcoding
  • 00:06:51
    mechanism so that you can actually
  • 00:06:53
    produce prores
  • 00:06:54
    proxies or high resolution files from
  • 00:06:57
    your original footage with the time code
  • 00:07:00
    information embedded this can be
  • 00:07:02
    really really useful because that way
  • 00:07:05
    you can do two steps in one
  • 00:07:07
    where you have the synchronization of
  • 00:07:08
    the time code and at the same time you
  • 00:07:11
    also produce your proxy files for
  • 00:07:13
    example
  • 00:07:14
    to work with in your nle and something
  • 00:07:16
    that i tried to program in my own tool
  • 00:07:18
    however that was really really difficult
  • 00:07:21
    to achieve
  • 00:07:22
    is actually this part right here where
  • 00:07:24
    they write that they have an
  • 00:07:26
    advanced audio time code reading
  • 00:07:28
    algorithm
  • 00:07:29
    and that is something that i actually
  • 00:07:30
    can definitely attest to
  • 00:07:32
    because i was trying to have the time
  • 00:07:34
    code recorded with
  • 00:07:35
    a auxiliary cable into my canon eos r
  • 00:07:38
    coming from the zoom f6
  • 00:07:40
    however the combination of the really
  • 00:07:42
    loud time code signal from the zoom f6
  • 00:07:45
    combined with the input on the canon eos
  • 00:07:48
    r
  • 00:07:48
    which has a kind of like a compressor on
  • 00:07:51
    it or something
  • 00:07:52
    destroyed the normally really clean
  • 00:07:55
    signal
  • 00:07:56
    and it wasn't readable by other programs
  • 00:07:58
    however
  • 00:07:59
    the tentacle sync studio still was able
  • 00:08:02
    to exactly
  • 00:08:03
    extract the information of timecode from
  • 00:08:06
    those files even though it was not
  • 00:08:09
    really a clean timecode signal
  • 00:08:11
    so that was really really impressive and
  • 00:08:13
    something that just
  • 00:08:14
    made me more curious to look into the
  • 00:08:16
    software even more
  • 00:08:18
    now something to note here is that the
  • 00:08:19
    tentacle sync studio
  • 00:08:21
    actually is only available for mac os
  • 00:08:23
    they are providing a windows counterpart
  • 00:08:26
    however i have heard that that is not as
  • 00:08:28
    advanced as the
  • 00:08:30
    mac os version however it does work
  • 00:08:33
    and it is provided free of charge so if
  • 00:08:36
    you are on windows
  • 00:08:37
    that might be an option for you now for
  • 00:08:40
    mac os
  • 00:08:40
    you can download the version right here
  • 00:08:42
    or you can get the beta version
  • 00:08:45
    for mac os big sur now just to include
  • 00:08:48
    that information as well
  • 00:08:49
    if you go to the shop.tentaclesync.com
  • 00:08:53
    you can see that the tentacle sync
  • 00:08:54
    studio actually costs 149 euros and you
  • 00:08:58
    can purchase a license right there
  • 00:09:00
    that might be interesting for you if you
  • 00:09:02
    don't want to use the tentacle sync
  • 00:09:04
    hardware however you still want to use
  • 00:09:07
    the software
  • 00:09:08
    for synchronizing other time code system
  • 00:09:10
    based things
  • 00:09:12
    now if you purchase any of these
  • 00:09:14
    products like the track e
  • 00:09:16
    the sync e and even a single sync e
  • 00:09:19
    you will actually get a license for the
  • 00:09:20
    tentacle sync studio
  • 00:09:22
    included with the hardware purchase so
  • 00:09:24
    you don't have to worry about that you
  • 00:09:26
    don't have to purchase both of them
  • 00:09:28
    you can just get the set for example of
  • 00:09:30
    the sync e
  • 00:09:32
    and purchase that and with that you will
  • 00:09:34
    also get the
  • 00:09:35
    software so that you can synchronize
  • 00:09:37
    everything on your computer
  • 00:09:39
    now once you have downloaded the
  • 00:09:40
    software the installation is very easy
  • 00:09:42
    it's just a drag and drop as you know it
  • 00:09:44
    from mac os applications
  • 00:09:46
    and then once you start it up it looks
  • 00:09:48
    kind of like this
  • 00:09:50
    now i have prepared a folder full of
  • 00:09:52
    files here
  • 00:09:53
    which are all time code enabled so they
  • 00:09:56
    either have
  • 00:09:57
    audio time code with the sync e or they
  • 00:09:59
    have time code based on metadata
  • 00:10:02
    there are tracks recorded with the canon
  • 00:10:04
    eos r cameras that i have available here
  • 00:10:07
    and i have tracks from the iphone the
  • 00:10:09
    track e
  • 00:10:10
    as well as the zoom f6 and all of these
  • 00:10:14
    are actually able to be synchronized
  • 00:10:17
    with this
  • 00:10:17
    metadata trick now if i bring all of
  • 00:10:20
    these tracks into premiere pro
  • 00:10:23
    let's see what we can do with those
  • 00:10:26
    there
  • 00:10:26
    because that is of course the normal
  • 00:10:29
    workflow you would just
  • 00:10:30
    import everything into premiere pro or
  • 00:10:33
    at least that is
  • 00:10:34
    one workflow how you can achieve those
  • 00:10:36
    things we take
  • 00:10:37
    one of those clips let's say we have the
  • 00:10:39
    eos r1 which is the
  • 00:10:41
    recording from the atomos ninja v
  • 00:10:44
    and then we have the eos r2 tracks so
  • 00:10:47
    these are
  • 00:10:48
    right there and then we can also include
  • 00:10:51
    some of the let's say we take the zoom
  • 00:10:53
    f6
  • 00:10:54
    audio track and now these two
  • 00:10:58
    on the atomos actually have no
  • 00:11:00
    information so i'm going to delete those
  • 00:11:02
    and bring those others back
  • 00:11:03
    up and then we have this right here and
  • 00:11:06
    we just
  • 00:11:07
    take the camera that we have here and
  • 00:11:09
    also align this
  • 00:11:11
    so now one of the ways how you can
  • 00:11:13
    actually synchronize these things of
  • 00:11:15
    course
  • 00:11:15
    is just selecting them right click and
  • 00:11:18
    then going down to
  • 00:11:19
    synchronize and of course the
  • 00:11:21
    synchronization is only available if you
  • 00:11:23
    have
  • 00:11:23
    all the tracks on their own little track
  • 00:11:26
    so even if you know that footage is from
  • 00:11:28
    one camera and it can
  • 00:11:29
    stay on one track it would not work for
  • 00:11:31
    the synchronization
  • 00:11:32
    so now we can select all of these right
  • 00:11:34
    click and do the synchronize
  • 00:11:37
    and then say okay and now this actually
  • 00:11:40
    would try to synchronize
  • 00:11:42
    things but as you can see of course also
  • 00:11:44
    because we don't have the right audio
  • 00:11:46
    information available here
  • 00:11:47
    it would try to align those things
  • 00:11:49
    however it is doing that not based on
  • 00:11:52
    metadata or
  • 00:11:52
    time code information it is doing that
  • 00:11:55
    only based on the audio tracks
  • 00:11:58
    so that is rather cumbersome of a
  • 00:12:01
    process and i
  • 00:12:02
    think that it works for many use cases
  • 00:12:05
    however for some other use cases it
  • 00:12:07
    really doesn't and it is a whole lot of
  • 00:12:09
    work
  • 00:12:10
    now let's compare that to how the time
  • 00:12:13
    code synchronization in
  • 00:12:14
    the tentacle sync studio works and there
  • 00:12:17
    we just take all of these files
  • 00:12:19
    we drag and drop them into the temptacle
  • 00:12:22
    sync studio
  • 00:12:23
    and as you can see you have the files
  • 00:12:25
    here on the left you even get thumbnails
  • 00:12:27
    and a whole host of metadata and
  • 00:12:29
    information about the files as well
  • 00:12:32
    as you scroll through these now the
  • 00:12:33
    information that you have
  • 00:12:35
    available here on a track by track basis
  • 00:12:37
    is of course the file name the size
  • 00:12:39
    how long the track is and the creation
  • 00:12:42
    time
  • 00:12:43
    based on the camera time and date next
  • 00:12:46
    we have information about the video
  • 00:12:48
    component of this file in this case a
  • 00:12:50
    prores
  • 00:12:50
    lt file with a resolution of full hd and
  • 00:12:54
    24 frames per second
  • 00:12:56
    the audio is a lpcm 4 channel 24 bit 48
  • 00:13:00
    000 hertz
  • 00:13:01
    and we have file time code as well as
  • 00:13:04
    audio time code now something to note
  • 00:13:07
    here is that in this case this is
  • 00:13:08
    something that has been recorded with
  • 00:13:10
    the atoms ninja v however
  • 00:13:12
    i don't have the time code
  • 00:13:14
    synchronization module for the atomos
  • 00:13:16
    so the file time code is simply the time
  • 00:13:19
    and date
  • 00:13:20
    that i set on the device so this is
  • 00:13:24
    not necessarily very reliable in my
  • 00:13:27
    setup now if you were to use the time
  • 00:13:29
    code synchronization module the
  • 00:13:31
    atom x module then of course the file
  • 00:13:34
    time code could also be
  • 00:13:36
    the correct time code so in my case the
  • 00:13:38
    correct time code on this file
  • 00:13:40
    is actually the audio time code coming
  • 00:13:42
    from a tentacle sync e
  • 00:13:44
    directly connected to the microphone
  • 00:13:46
    port of the camera
  • 00:13:47
    so that way the signal of the camera in
  • 00:13:49
    audio and video is synchronized
  • 00:13:52
    and with the correct time code then with
  • 00:13:54
    this other camera
  • 00:13:55
    the canon ears r2 this one is a local
  • 00:13:58
    recording to a normal sd card inside of
  • 00:14:00
    the camera
  • 00:14:01
    and again it is connected with a sync e
  • 00:14:04
    and that way we have time code there in
  • 00:14:06
    the audio file as well
  • 00:14:08
    then as we go down here we have the
  • 00:14:10
    iphone
  • 00:14:11
    and in this case we were using the rec
  • 00:14:14
    app and that is a
  • 00:14:15
    application that actually supports time
  • 00:14:17
    code with the
  • 00:14:18
    track e as well as sync e so that's
  • 00:14:21
    really powerful and i'm going to make a
  • 00:14:22
    video specifically about that as well
  • 00:14:24
    and here we have the file time code
  • 00:14:27
    because the
  • 00:14:28
    rec app actually takes the time code
  • 00:14:30
    information from
  • 00:14:31
    one of the devices that you have around
  • 00:14:33
    in bluetooth reach
  • 00:14:35
    so it could be a sync e or a track e and
  • 00:14:38
    then with that it will include the time
  • 00:14:40
    code information from that
  • 00:14:42
    inside of the file now something you can
  • 00:14:45
    see here is that the frame rate in the
  • 00:14:46
    file time code is actually different
  • 00:14:48
    from the others
  • 00:14:49
    because normally i use everything at 24
  • 00:14:52
    frames per second
  • 00:14:53
    however at this case i was actually
  • 00:14:55
    using the iphone
  • 00:14:57
    with a frame rate of 60 frames a second
  • 00:14:59
    in 4k
  • 00:15:00
    now that was an error on my part however
  • 00:15:02
    the software can still work with this so
  • 00:15:04
    that's really cool
  • 00:15:06
    then of down here we have more files and
  • 00:15:09
    this way we have
  • 00:15:10
    audio files and the four up here
  • 00:15:13
    are the two track e devices which i
  • 00:15:15
    started and stopped in between
  • 00:15:17
    and those are 32-bit float 48 000 hertz
  • 00:15:21
    and of course they have file time code
  • 00:15:23
    because they are
  • 00:15:24
    enabled to have that inbuilt
  • 00:15:28
    and then lastly we have the zoom f6
  • 00:15:31
    and the zoom f6 was not connected to a
  • 00:15:34
    sync
  • 00:15:34
    e whilst recording however what i did
  • 00:15:37
    was i connected a sync e
  • 00:15:39
    in the beginning to the zoom f6 and that
  • 00:15:42
    way
  • 00:15:42
    the internal clock of the zoom f6
  • 00:15:44
    actually gets
  • 00:15:45
    updated with the time code signal from
  • 00:15:48
    the
  • 00:15:48
    sync e and then i can unplug it the
  • 00:15:51
    internal clock of the zoom f6 will keep
  • 00:15:54
    that
  • 00:15:54
    time code for about a day and i can use
  • 00:15:57
    the timecode device in this case the
  • 00:15:59
    sync e with another camera
  • 00:16:01
    so that way i can use two cameras and a
  • 00:16:04
    zoom f6
  • 00:16:05
    with just two synced devices so this way
  • 00:16:08
    we also have time code in the file
  • 00:16:10
    on the zoom f6 and now as you can see we
  • 00:16:14
    have all of this
  • 00:16:15
    and we can also use a sync map to
  • 00:16:18
    actually
  • 00:16:19
    look at how all of that looks on
  • 00:16:22
    a timeline and as you can see with that
  • 00:16:24
    we have the iphone tracks right here
  • 00:16:27
    and i think this one right there should
  • 00:16:29
    also be the iphone track and
  • 00:16:31
    probably should be on the fourth right
  • 00:16:34
    here
  • 00:16:35
    but we also have the canon eos r v2
  • 00:16:38
    right there we have canon eos r1 and
  • 00:16:41
    then we also have all the audio channels
  • 00:16:44
    down here as well with the zoom f6 being
  • 00:16:46
    the one
  • 00:16:47
    that was running from start to finish so
  • 00:16:50
    what you can see here is that you can
  • 00:16:52
    check everything and
  • 00:16:54
    see if it lines up correctly at least on
  • 00:16:58
    a kind of like a
  • 00:16:59
    grand scale of course you can zoom in
  • 00:17:01
    here
  • 00:17:02
    however i personally have found that i
  • 00:17:05
    just trust that everything works
  • 00:17:07
    bring it over to my program like
  • 00:17:08
    premiere pro and do
  • 00:17:10
    my fine adjustments there what i can do
  • 00:17:13
    however
  • 00:17:14
    is i can change certain things if i
  • 00:17:16
    don't want
  • 00:17:17
    certain things to behave the way that
  • 00:17:19
    they are set up
  • 00:17:20
    by default so in this case for example
  • 00:17:23
    you can see
  • 00:17:24
    we have the audio tracks down here and
  • 00:17:26
    we have a couple of settings down at the
  • 00:17:28
    bottom
  • 00:17:29
    and one of them is keep camera audio and
  • 00:17:32
    in this case for example if you don't
  • 00:17:33
    want to do that you can uncheck that
  • 00:17:35
    and then you would only have the audio
  • 00:17:38
    from the external recorders
  • 00:17:40
    however i usually like to keep that
  • 00:17:43
    checked
  • 00:17:44
    so that i can also have these available
  • 00:17:47
    in my editing program
  • 00:17:49
    then you also have multi mode and in
  • 00:17:51
    this case it would just show you
  • 00:17:53
    one camera at any given moment however i
  • 00:17:55
    don't use it that way i always use it in
  • 00:17:58
    multicam mode
  • 00:17:59
    so that you can actually see that there
  • 00:18:01
    are multiple cameras available
  • 00:18:03
    and on which channel they are being put
  • 00:18:06
    now what you can adjust here is that you
  • 00:18:09
    have a lot of
  • 00:18:10
    different settings available here that
  • 00:18:12
    you cannot really see
  • 00:18:14
    and what you can however do is right
  • 00:18:17
    click on things
  • 00:18:18
    so in this case for example if you want
  • 00:18:20
    to zoom in here
  • 00:18:21
    on the file up here this right there
  • 00:18:24
    this iphone track this should be
  • 00:18:27
    somewhere else
  • 00:18:29
    now what you can do is you can actually
  • 00:18:31
    zoom in here and
  • 00:18:32
    you can have a couple of details for for
  • 00:18:34
    example this track right here
  • 00:18:36
    we can show it in the file browser in
  • 00:18:39
    the finder or
  • 00:18:40
    show info and with that we can go into
  • 00:18:43
    the show
  • 00:18:43
    in file browser and there we can see
  • 00:18:46
    that this is the iphone
  • 00:18:48
    rec file and it was created at 15
  • 00:18:51
    38 27 now something that i
  • 00:18:55
    kind of guess is that this was probably
  • 00:18:58
    recorded
  • 00:18:58
    before all the other ones were recorded
  • 00:19:02
    and based on that i would say this might
  • 00:19:05
    not be
  • 00:19:05
    something that can synchronize because
  • 00:19:08
    all the others
  • 00:19:08
    as you can see here this is at 1633 and
  • 00:19:12
    then this is at 1538
  • 00:19:14
    and that is of course a huge difference
  • 00:19:17
    and now as i remembered
  • 00:19:19
    this is actually a file that was not
  • 00:19:21
    using the time code from the sync e
  • 00:19:24
    or the track e and it was just using the
  • 00:19:27
    phone's
  • 00:19:27
    time code setting so this is a file that
  • 00:19:30
    we have to remove and with
  • 00:19:32
    that we can actually do that by right
  • 00:19:34
    clicking here again
  • 00:19:35
    we can have a couple more settings and
  • 00:19:38
    have the remove
  • 00:19:39
    file because it is not a file that fits
  • 00:19:42
    into our
  • 00:19:43
    set so we can remove that and with that
  • 00:19:46
    we have it out of
  • 00:19:47
    the system here however the file in the
  • 00:19:49
    file system still
  • 00:19:51
    stays intact and in place
  • 00:19:54
    now what you also saw is that there are
  • 00:19:56
    a bunch of different settings available
  • 00:19:58
    here as well
  • 00:19:59
    we can add more files we can assign a
  • 00:20:02
    sync
  • 00:20:02
    group so that we can for example say
  • 00:20:04
    which camera goes into which
  • 00:20:06
    group we can set a sync source so
  • 00:20:09
    if you want to choose the file time code
  • 00:20:11
    or the audio time code
  • 00:20:13
    and that makes sense if you for example
  • 00:20:15
    have audio time code
  • 00:20:16
    and the file time code and you want to
  • 00:20:18
    choose between those two you can do that
  • 00:20:20
    by right clicking and set
  • 00:20:21
    sync source you can set an offset if you
  • 00:20:24
    know
  • 00:20:25
    that those files or this one specific
  • 00:20:27
    file needs that
  • 00:20:28
    you can also shift the audio and the
  • 00:20:31
    video you can show information so that
  • 00:20:33
    you can get even more information about
  • 00:20:35
    those files that you have
  • 00:20:37
    right there and of course you can also
  • 00:20:39
    show the file in your finder
  • 00:20:41
    so that you can make sure to i don't
  • 00:20:43
    know rename it move it somewhere else or
  • 00:20:45
    such
  • 00:20:45
    things and then last but not least you
  • 00:20:47
    have the read audio time code
  • 00:20:50
    button or function key here and you can
  • 00:20:52
    also do that by hitting command
  • 00:20:54
    r and then you get this little window
  • 00:20:57
    here and with that you can read the time
  • 00:20:59
    code again
  • 00:21:00
    however usually i have it set up that
  • 00:21:03
    the time code actually is read
  • 00:21:05
    up on loading the files and i have made
  • 00:21:08
    the experience that even if you have
  • 00:21:10
    long files it works really really
  • 00:21:12
    quickly
  • 00:21:13
    and that's actually something where you
  • 00:21:14
    can go into the settings and you have
  • 00:21:16
    the audio
  • 00:21:17
    time code import setting read audio
  • 00:21:19
    timecode on import
  • 00:21:20
    i would always leave that turned on and
  • 00:21:22
    the same thing is automatically applying
  • 00:21:24
    av shift on import if that's necessary
  • 00:21:28
    setting synth groups linear timeline
  • 00:21:30
    mode press serves gaps
  • 00:21:32
    i don't like that because it makes no
  • 00:21:34
    sense to me i
  • 00:21:35
    want to have everything kind of like
  • 00:21:36
    squished together
  • 00:21:38
    and of course you have a lot more
  • 00:21:40
    settings on here
  • 00:21:41
    i don't necessarily change a lot there
  • 00:21:43
    so that's there if you need it
  • 00:21:45
    and there's also a lot of information by
  • 00:21:48
    clicking on these question marks
  • 00:21:49
    so that you know what you're doing and
  • 00:21:51
    what those settings are doing for you
  • 00:21:54
    what i do want to take a look at here is
  • 00:21:57
    the export
  • 00:21:58
    functions or the export modules that are
  • 00:22:01
    available to you
  • 00:22:02
    personally i mostly use the xml export
  • 00:22:05
    however i also want to mention a little
  • 00:22:07
    bit about the media export
  • 00:22:10
    the media export here if you click on
  • 00:22:12
    that you can see
  • 00:22:13
    that you can choose your destination of
  • 00:22:15
    course but you also have
  • 00:22:17
    options available down here and this
  • 00:22:20
    media export mode
  • 00:22:21
    essentially gives you the option to
  • 00:22:23
    embed metadata timecode into
  • 00:22:26
    the files that you have recorded even if
  • 00:22:28
    you recorded them with for example the
  • 00:22:30
    audio time code from the tentacle sync e
  • 00:22:33
    now that's a possibility here you can of
  • 00:22:36
    course
  • 00:22:36
    also change what kind of video file you
  • 00:22:39
    want to be
  • 00:22:40
    output so for example you could take all
  • 00:22:43
    of your files
  • 00:22:44
    throw them in here and with that also
  • 00:22:47
    reprocess or transcode them
  • 00:22:50
    to for example apple prores 422 or 422
  • 00:22:53
    lt
  • 00:22:54
    proxy and so on and you're even asked if
  • 00:22:57
    you want to resize
  • 00:22:59
    your footage so this can be easily used
  • 00:23:02
    to either
  • 00:23:03
    create progress files from the files
  • 00:23:05
    that you have
  • 00:23:06
    from your camera or you can actually
  • 00:23:09
    have this
  • 00:23:09
    to the work to create proxy files for
  • 00:23:12
    you to work with in your nle
  • 00:23:14
    if you want to do that i personally
  • 00:23:17
    don't do that
  • 00:23:18
    at the moment because i am able to
  • 00:23:20
    handle the files that come
  • 00:23:22
    from my other camera if i have them and
  • 00:23:24
    my main camera already records into the
  • 00:23:26
    atomos ninja v
  • 00:23:28
    which also is recording in prores 422 lt
  • 00:23:31
    which then of course is very easily read
  • 00:23:34
    by my macbook pro
  • 00:23:36
    so this is a process that you can use to
  • 00:23:39
    make
  • 00:23:39
    your life a little easier on the editing
  • 00:23:42
    front if you want to use for example
  • 00:23:44
    prores
  • 00:23:44
    and also resize your files to be smaller
  • 00:23:47
    or bigger the same thing can be done for
  • 00:23:50
    audio here you can pass through or
  • 00:23:54
    do a little bit of the editing right
  • 00:23:55
    there and i just leave it as pass
  • 00:23:58
    through
  • 00:23:59
    and the other settings is what kind of
  • 00:24:00
    output file you want a synchronized
  • 00:24:02
    quick quicktime movie
  • 00:24:04
    original media with embedded timecode
  • 00:24:06
    and if you want to create a quicktime
  • 00:24:08
    reference movie
  • 00:24:09
    now this is very powerful however it
  • 00:24:12
    also takes a lot of power
  • 00:24:14
    because as you do the transcoding as far
  • 00:24:16
    as i'm aware you can't do other syncing
  • 00:24:18
    and your computer usually is pretty much
  • 00:24:21
    blocked by that process
  • 00:24:23
    not really able to do that much more
  • 00:24:25
    work
  • 00:24:26
    so this is something that i would only
  • 00:24:28
    use if for example i wanted to also
  • 00:24:30
    have all the transcoding done by this
  • 00:24:33
    however it might even be better to do
  • 00:24:34
    transcoding with media encoder
  • 00:24:36
    and then use this just for the time code
  • 00:24:39
    add up or the timecode lineup in your
  • 00:24:42
    timeline
  • 00:24:43
    so again this works it is really
  • 00:24:45
    powerful to be able to
  • 00:24:47
    embed the time code into your files if
  • 00:24:49
    you want that
  • 00:24:50
    in your workflow however it is something
  • 00:24:52
    that takes
  • 00:24:53
    quite a while to then save your data
  • 00:24:56
    however the faster process that i like
  • 00:24:59
    to use
  • 00:25:00
    is the xml export and with that i just
  • 00:25:02
    click the xml button right there
  • 00:25:05
    change the place where i want to put it
  • 00:25:07
    in this case let's put it on the
  • 00:25:09
    desktop i don't usually rename those
  • 00:25:11
    files a lot because i work so quickly
  • 00:25:13
    and i just move forward so fast that
  • 00:25:15
    untitled for one project is enough
  • 00:25:18
    if i have just one folder full of
  • 00:25:20
    synchronized files
  • 00:25:22
    and of course i use premiere pro so
  • 00:25:24
    that's what i set right there you can
  • 00:25:26
    also use this for
  • 00:25:27
    final cut and you can also decide if you
  • 00:25:29
    want to include the synchronized clips
  • 00:25:31
    or not
  • 00:25:32
    so that's something that helps premiere
  • 00:25:33
    pro however
  • 00:25:35
    also if you just export the xml file it
  • 00:25:37
    will reference the files
  • 00:25:39
    where you have them stored so you don't
  • 00:25:41
    really have to do that
  • 00:25:42
    project frame rate is based on the usual
  • 00:25:45
    frame rate
  • 00:25:46
    project format is based on the largest
  • 00:25:49
    file
  • 00:25:49
    in this case usually i would say 1080p
  • 00:25:52
    is the one that i would choose because
  • 00:25:53
    that's what i
  • 00:25:54
    want to work with at the moment project
  • 00:25:56
    audio format
  • 00:25:58
    is set there as well and then i can save
  • 00:26:01
    now this is getting saved to the desktop
  • 00:26:03
    with a little bit of a
  • 00:26:04
    log message right there so i have
  • 00:26:07
    information about that
  • 00:26:08
    and with that the synchronization here
  • 00:26:10
    is done
  • 00:26:11
    we can minimize this or close it
  • 00:26:13
    actually and we are going to go back
  • 00:26:15
    into premiere pro
  • 00:26:17
    now here i can actually just go to the
  • 00:26:20
    finder window
  • 00:26:21
    find the untitled xml file and if i drag
  • 00:26:24
    and drop this into
  • 00:26:26
    this project right here now we have a
  • 00:26:29
    whole folder
  • 00:26:30
    ready to go here we have a sync
  • 00:26:33
    map so this is our synchronized timeline
  • 00:26:37
    basically
  • 00:26:38
    and we have a folder with all the
  • 00:26:40
    original files
  • 00:26:41
    for this sync map and now if i open this
  • 00:26:44
    up you can see we have our files ready
  • 00:26:47
    to go
  • 00:26:48
    and the audio is also there and you can
  • 00:26:51
    see that there's actually a lot of audio
  • 00:26:54
    a lot of video
  • 00:26:55
    a lot of starting and stopping and i
  • 00:26:57
    actually did not do
  • 00:26:59
    one clap sync except for i think i did
  • 00:27:02
    one clap right here at the beginning
  • 00:27:05
    yeah
  • 00:27:06
    and that's all so all of these cameras
  • 00:27:08
    just were started and stopped
  • 00:27:10
    every now and then to just demonstrate
  • 00:27:13
    how
  • 00:27:13
    easy it is to synchronize these things
  • 00:27:15
    together without ever
  • 00:27:17
    having a look at the waveform now as
  • 00:27:19
    these things are imported we can get rid
  • 00:27:21
    of some of the audio
  • 00:27:23
    that i don't use or that was not
  • 00:27:25
    recorded from the atomos ninja v for
  • 00:27:27
    example
  • 00:27:28
    hit the shift key if you're moving
  • 00:27:30
    things up and down so you don't move
  • 00:27:32
    them left and right and with that we
  • 00:27:34
    have
  • 00:27:35
    all of these things ready to go and it
  • 00:27:38
    is nicely
  • 00:27:39
    synchronized and that is how you can
  • 00:27:42
    work with the
  • 00:27:43
    tentacle sync studio to synchronize
  • 00:27:45
    files that have
  • 00:27:47
    timecode information either in the audio
  • 00:27:49
    channel with audio timecode
  • 00:27:51
    or in the metadata with the appropriate
  • 00:27:54
    settings there
  • 00:27:55
    i think it is a really powerful
  • 00:27:57
    application to do
  • 00:27:58
    exactly this job and it can save hours
  • 00:28:01
    and hours in synchronization work
  • 00:28:03
    if you have the setup to work with
  • 00:28:05
    timecode now my question for you today
  • 00:28:07
    is do you use timecode synchronization
  • 00:28:09
    and how do you do
  • 00:28:10
    the timecode sync on the computer what
  • 00:28:13
    kind of application are you using
  • 00:28:14
    or is tentacle sync studio maybe a
  • 00:28:17
    software for you
  • 00:28:18
    you can leave a comment down below and
  • 00:28:19
    we can have a conversation about that
  • 00:28:21
    now if you have any questions also about
  • 00:28:23
    tentacle sync studio or anything related
  • 00:28:26
    to time code synchronization
  • 00:28:27
    you can also leave a comment down below
  • 00:28:29
    and i'm gonna try to answer you there
  • 00:28:31
    or make a video specifically about your
  • 00:28:32
    question now while you're down there it
  • 00:28:34
    will also help a lot if you give this
  • 00:28:35
    video a thumbs up that helps out a lot
  • 00:28:37
    with the youtube algorithm
  • 00:28:38
    and of course it also helps me know
  • 00:28:40
    better what kind of veggies
  • 00:28:42
    you like on my channel with all of that
  • 00:28:44
    said i hope you have an amazing day
  • 00:28:46
    synchronize all your footage and i will
  • 00:28:48
    see you in the next video
  • 00:28:55
    ciao
Tags
  • synchronization
  • time code
  • audio
  • video
  • Tentacle Sync
  • Tentacle Sync Studio
  • editing
  • post-production
  • multicam
  • workflow