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.

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

00:28:56

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

Summary

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.

Timeline

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.

Mind Map

Video Q&A

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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Subtitles

Auto Scroll:

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
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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
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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
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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
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studio software
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because a couple of months ago i
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actually started to work with timecode
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or wanted to start to work with timecode
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as i found out
00:02:37
that the zoom f6 has a timecode out as
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well as
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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
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signal
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and then use the metadata of the zoom
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f6s
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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
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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
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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
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tracks
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in the back end then the software
00:04:17
quickly becomes a no-brainer
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so i was just moments away from
00:04:21
purchasing the software
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when i actually reached out to get a
00:04:24
couple more information pieces about
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the software and also how it all works
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and that's actually where all of this
00:04:31
started and we had a phone call
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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
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my own work as well as
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make videos for you about time code
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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
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but so it all started with this software
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and
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i think that it actually is a really
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really cool tool it's something that you
00:05:07
don't necessarily see
00:05:08
thrown around a whole lot because
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timecode synchronization is not
00:05:12
necessarily something that everybody's
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doing
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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
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and first have a look at the website now
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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
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as long as your clips have time code
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synchronization information so the
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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
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but
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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
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as you scroll through these now the
00:12:33
information that you have
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available here on a track by track basis
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is of course the file name the size
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how long the track is and the creation
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time
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based on the camera time and date next
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we have information about the video
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component of this file in this case a
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prores
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lt file with a resolution of full hd and
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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