EASY TENTACLE SYNC E Timecode Masterclass for DaVinci Resolve!

i bet you already know you can sync up multiple  audio and video clips with just a simple hand clap   a slate or even the fancy new waveform  matching feature that pretty much all   the editing programs have these days  but the problem with those methods is   that they require something visual or  audible to be present at the same time   to line them up in post-production over the years  i've wasted way too many hours from poorly shot   multi-cam and dual system sound shoots that  didn't have those synchronization cues for   instance here's a clip that couldn't sync based  on waveforms because the scratch audio was so poor   and now here's how instantly i can sync an entire  bin of clips with just one mouse click using this   simple jam sync time code tip using tentacle  syncs on set and then editing in davinci resolve real quick before we jump into taking a look  at how simple it is to sync up your clips with   timecode let me briefly explain what it is and  when i like to use it if you want to skip ahead to   the how-to sections i mark the chapters for those  in the description and in the comments for you to   get to exactly what you're looking for in fact  there's a section in there about using multicam   with multi-channel audio that you're not going  to want to miss so what is jam sync time code   well besides jam syncing being possibly one of the  most fun words to say on set it's actually really   simple it's when you have one master source clock  with a very accurate time in frames that sends   the same precise time to all the devices that you  jam sync it to we call those other devices slaves   so you've got one master and right here you'd  have a couple slaves you might have more but in   other words it's just a fancy clock the tentacle  sync e time code generators which is what i'm   going to demo here in this video it's the first  budget minded way to do this super pro workflow   on any consumer camera that has a 3.5 millimeter  microphone input when to use timecode anytime   you're running multiple cameras or a separate  audio recorder is a good time to think about   using time code the more indie and run and gun  the project is the more important and useful it is   even though that sounds counterintuitive this  includes the simple interview setup a run and gun   full day shoot like any kind of event with several  camera operators that are roaming in a large venue   documentary field work where you never know  when you need to push the record button   or anytime you have lots of stopping and starting  with multiple cameras this is going to save you   so much time when you go into the edit which then  of course could save you money and the beauty of   this workflow is you can stop and start your new  cinema cameras your fancy new sony fx3 or canon   c70 as much as you want because you no longer  need to worry about doing that annoying hand clap   at the start of each take nothing wrecks the  mood like a good old hand clap to start an   emotional interview with someone that's not used  to being filmed you can also save on media storage   because of the freedom to cut a camera and reset  a shot and not worry about that it needs to be   precisely synced up again in post hey real quick  i just want to welcome you if you're new here to   this channel i'm chadwick this is creative  video tips it's all about helping you craft   stories to make a difference and stand out so  if you enter that please subscribe right down   below right now that way you don't miss out on the  tip next week i've got lots of great tutorials to   help you get up to speed with davinci resolve and  filmmaking in general and with that out of the way   let's take a look at how to set up the tentacle  syncs and how you can use it in davinci resolve now a common complaint i hear a lot with people  that don't want to use jam sync timecode is that   they think it's too burdensome it's too hard to  set up it takes too long but with the tentacle   sync e these things are so lightweight and easy  to set up because they have an iphone app and if   you can use any sort of iphone app you're going to  be able to figure this out really quickly so let   me just show you how to set it up you're going to  need one of these for each of your devices by the   way let's set this down we'll open up our iphone  app and it recognizes all our devices that we had   previously used right there and to turn them on  there's a little slider on there you just hold   that for about a second and it's gonna start  flashing red okay red is basically saying hey   i need to be synchronized so we'll do that to  each of the devices hold it for about a second   so this is something you would do at the  beginning of each shoot it's basically about   as hard as turning on a microphone to be honest  okay now they're all on there it says they need   to be synchronized they're red we'll hit the sync  button and you can choose your frame rate it's got   all the standard smpte timecode frame rates we're  choosing 23.98 that's what i like to shoot at and   you can change your time so that it matches um you  know whatever you'd like it to be so if you wanted   to match a time of day right now it's it's 9 41  here you could double tap here and make this 9 what is it 41 and hit start and it starts syncing  to all of them and it gives us time of day   timecode everything is green everything's  synchronized ready to go just like that   now all you really need to do is plug them in  so you've got these three and a half millimeter   microphone uh cables they plug into the top right  there with all three of them pretty simple right and then you would take these guys and plug them  into the microphone inputs on your camera so here   i've got a sony fx3 got a little red microphone  input right there plug that in and now it's going   to be receiving ltc linear timecode to the left  channel and then on the right channel it actually   has a microphone on the tentacle sync itself a lot  of people don't know this that's going to give you   another little bit of scratch audio on the right  side of your audio so that's all there is to set   up to them there's one little bonus thing with the  blackmagic cameras they actually have a dedicated   timecode input which means it'll take the ltc time  code if you plug this into your microphone input   here it'll convert the ltc timecode to metadata  timecode in the camera for you now that doesn't   matter for our situation here because we're  going to actually be using davinci resolve   and davinci resolve has this little super power  that converts linear timecode to metadata timecode   for you with just right clicking and that's what  i'm going to show you next over in davinci resolve   here in davinci resolve 17.3 i've got clips  from a sony fx3 an a7s3 and a sound devices   mixpre 3 which is what  recorded all the great audio   and the first step to really organizing your  footage when it's in here to do a multicam   even with the jam sync time code that we have on  these is to assign camera numbers to them this is   so that all your clips from the same camera end  up on the same track some of these don't have   enough metadata and that's what we're going to be  providing for them right now so i switched to list   view if they were in thumbnail view this is how  you get the list view right this button right here   and then if you click your clip name up here it  kind of organizes them a little bit for you so   you can shift to select all of the fx3 clips we're  gonna do that and then we're gonna go over to our   metadata field if all of them aren't showing if  it's just showing clip details you can choose   shot and scene go down and find the clip number  and we're gonna call that one and hit save   so those are all assigned the same camera number  and then we'll do the same with these a7siii   clips right here shift select them  check box camera number two hit save   and now you can see the actually the sound devices  clips they're smart enough they actually write the   metadata in the file so those are good to go  and then the other thing i want to point out   before we get any further is under workspace  there's actually a timecode window and since   this whole video is on time code i figured it'd  be nice if we had some time code visible for   all the clips as we're working on them and also  before we go any further i want to point out what   audio time code sounds like you've waited  long enough to hear this let's hit play so you can see that left channel right  there that sound right there that is the   audio timecode that is linear timecode playing  back and that is persistent on all these files   we get that same sort of thing on all of them  so but here's the thing you look at the time   code fields right here this start time code is  2 hours 40 seconds this one here is 19 hours   and then the audio down here is at 10 hours none  of those match at all right and you're like well   didn't we record audio timecode we we did but what  resolve is reading initially is the metadata time   code so we need to update the with the linear time  code the audio time code to the metadata time code   this is how you do it it's so easy all we're  going to do is select all of these video clips   and this is one of the things that actually  just got updated and fixed a little bit in this   current version of resolve then  you're just going to right click   and then you go to update timecode from audio  track that's the secret to all this as soon as   i do this you're going to see those time code  numbers change okay i said update timecode   from audio track i clicked it and just like that  you'll see all the time codes have just changed   and now we actually have time codes that are  you know they're in the same ballpark there now to create a traditional multicam  select all the clips with command a   right click say create new multicam using  selected clips and then under here under   angle sync this is something you might not have  used before but make sure that is on timecode   and then we're going to choose detect clips from  same camera and then we'll say metadata is using   the camera number that's what we had set up with  setting the two cameras to one and two just click   create and you'll see how fast this happens  boom just like that it's like instantaneously   it's unbelievable right we can open this in  timeline by right clicking on it saying open   in timeline and just like that you can see all of  the clips basically in order of how they were shot   just like that i mean check  that out that's amazing right   now that all the waveforms have filled  out you might have noticed on our good   audio track this mix pre 3 it looks like  it's combined all of our audio tracks into   an adaptive track so we've got five audio  tracks if we look back here at the original   let's look at this mixpre iii we actually  have you know stereo mix we've got lavs on   each we've got a boom that's separate we want to  be able to manipulate all these in the multi-cam   and this is the big gotcha that a lot of people  don't understand about multicam in davinci   resolve and how you work with it so let's go  back to the edit page and create a timeline   from this multicam sequence and i'll show you  how to work with it properly go to media pool   and let's create a sequence from the multicam  so the multicam is kind of like a nest we're   going to right click on it and say create new  timeline using selected clips we'll call this uh multicam edit and it's based on the selected  media we'll hit create and now let's mash it all   down into one that's like a stereo track so that  doesn't seem very helpful at all not does it well   we're gonna get there just hang on okay i'm gonna  close the media pool to give us a little more   space and let's get rid of the time code window  that's just getting annoying to me right now   the waveforms haven't drawn yet because you know  i don't have the fastest computer in the world   and to see multicam when you have the dual  viewer dual monitor setup here if you don't   by the way it's this button right here the left  side is going to give you access to see multicam   click multi-cam and you can see both your angles  at the same time now we want the audio angle only   which is why i have music this little music  things means it's only going to change the audio   i'm going to hit option and click on that to  make sure that we're getting the angle 3 audio   which is the the good audio sound from the  mixpre 3 okay now here's the other thing   now that we have this set um on this audio track i  know i'm not going to use the audio from the video   cameras themselves so i'm going to do basically  i'm going to pull this audio out of the multicam   okay for this all to work great we're  going to right click on it and we're   going to flatten multicam clip but just on the  audio okay flatten that and now we basically   we we don't have the option to change the  audio anymore but that's okay we do still   see an issue here and the issue is that i've got  all this mixed down into a stereo adaptive track   well let's change this by right clicking on it  we'll say change track type to adaptive five   because we have actually have five tracks in  there and we can see that we still have access   to all those by selecting it and right clicking  and saying display individual audio channels so   they're all still there now the downside to this  they're all still there and that's all beautiful   i can't edit these independently it's all  at the same time right like it's all or none   right and you could say yeah you could go over  to the fairlight page and and see all of them in   here and work with them but because they all  live on one track you actually really can't   edit them independently very easily and i want to  work in the edit page so the way you can do that   is another little trick here you right click on it  you say convert to linked group so that's in this   track header area convert to linked group okay now  that i've done that it's broken them out into mono   tracks on all of them but here's another thing we  got one more step to do if you look over on the   mixer it still just has control over a1 because  they're all linked together so to unlink them   we're going to select them all with our mouse  we're going to go up to fairlight link group   and under link group we're going to unlink  them so there's this little box right here   if you just sorry you select that and you say  unlink now they're unlinked and just like that   now you'll see in the track mixer we have  isolated all five of those tracks again   they're all synchronized ready to be worked with  and manipulated individually so that's one thing   i know that has gotten a lot of people that are  new to using multicam and image resolve that's   not just a jam sync time code kind of deal  so i'm hoping that helps a lot of people out   the other thing you'll notice now these are not  linked in the sense of the audio and video clips   linked together which you probably want to do so  they don't lose sync without you realizing it the   way you can do that just select all and then  right click and say link clips so now if you   take one of these clips here and move it out you  get that out of sync frame indicator warning you   that hey you've actually nudged that as out of  place i'm just going to undo and you can really   you can go to town editing with your multicam  sequence right now and you can still change this   over here to multicam because your video tracks  um basically are still multicam it's just your   is not in the multi-cam editable state anymore  you would just change this to video right here   and then you maybe change this to one by two for  your view so that you're not you know cluttered by   so much stuff and then you can just go through  here and say if you want angle two you can hit   two on the keyboard and it cuts angle two and if  you wanna cut back to angle one two one and this   video is not about how to cut multicam but i just  wanna show you how fast it was to get that set up   and that you can still have control of all  your multi-channel audio using this workflow another really common technique for  dual system sound and jam sync workflows   is to sync the dailies so taking this good sound  with this uh these video clips here that don't   have good sound and putting the good sound on  them in other words and the way you do that   once you've updated the timecode from the audio  time code remember that was just a right click   with update timecode from audio track once you've  done that so that the time code is read from   the ltc you can just put them all in the same  folder you can right click on the folder itself   and say auto sync audio based on timecode  and as soon as i click this you're going   to see the audio channels change from 2 to 5  over there in that column for audio channels   and just like that you can see they've all changed  and instances where it had overlapping timecode   and all of those which had you know that track  one that had that annoying sounding ltc time code   it's actually pulling in all the five channels  from the sound devices mix pre 3 audio instead   so now that the dailies are sunk let's  jump to the cut page with shift three   and this is going to be another way of setting  up your roughed out sequence so let's go to   source tape this is going to let us see all  the footage in the bin in the order it was shot   and to quickly get stuff down on the timeline you  can mark in i for in and o for out and then hit   the append button and that gets stuffed down  on a timeline right away really quickly okay   maybe we go to another section mark in i mark  it o and append now what's kind of special here   about the cut page is this feature that's  called the sync bin so if you go up here   this is sync bin and what sync bin is is  basically looking at everything that's   in your bin right up there and if it has matching  time code between the two it's going to give them   give you an option to use what's called source  overwrite to cut to the other angle at any point   throughout the the process so what if at this  moment it's it's right now it's on that close-up   of the dude in that sweet hat what if i wanted  to go to the wide shot all i would need to do   is hit one right here and then hit source  overwrite okay which is this button right here   and then it automatically cuts that in sync on  top right it goes from the one angle to the next   and so you could do a multi-cam that way as  well so basically the idea would be you're   just cutting in the content that you need rather  than looking at all of it and trimming it down   you're starting from nothing and adding just what  you want so that's cut page if you want to learn   more about the cut page and you know the speed  editor i've got a lot of stuff on this channel to   check out to learn about it i hope you found this  tutorial helpful and if you did please give it a   like and if you want to learn more about editing  and davinci resolve click the playlist that i've   got on screen right now and because there's so  much more to learn i'll see you in my next video

Channel: Creative Video Tips

Views: 52,935

Keywords: Tentacle Sync E, Tentacle Sync E Setup, DaVinci Resolve Audio Timecode, LTC Timecode, Linear Timecode workflow, Adaptive Audio Tracks Resolve, DaVinci Resolve Multicam Audio track, Edit adaptive audio tracks, multicam davinci resolve 17, davinci resolve tutorial for beginners, Creative Video Tips, Timecode Masterclass, Timecode Explained, tentacle sync davinci resolve, tentacle sync track e, timecode generator, edit multicam, davinci resolve sync bin, tentacle sync e tutorial

Id: 2-5SAA4fbSI

Length: 18min 12sec (1092 seconds)

Published: Tue Sep 21 2021