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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Which Timecode gear to invest into?

D

David Peterson

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Correct me if I'm wrong, but I've been pondering which of the many time code options to invest in (as the choices have exploded lately due to NAB 2017!), and it seems like the "best" bang for buck option would be the Timecode Systems' UltraSync ONE bundle for US$915? (1 x :wave + 2 x UltraSync ONE)

As that price/features ratio seems unbeatable! (although I wish I had a rough idea of what the Tentacle Sync E will be selling for)

Unless someone can make a compelling argument for Ambient NanoLockit / Tentacle Sync E / Betso TCX-2 / Denecke SB-4 / TIG Qbit / etc instead? I'd love to hear why!
 
I have a Zoom F8 and just love the Tentacle Syncs. Also have a pair of timecode buddy mini trx but love the simplicity of the Tentacles and use them most. All housed in a super neat Orca bag.

C--qMu0XYAAreJ7.jpg:large
 
I discussed this with Gotham Sound, whom I trust, and have a 633 and two Red cameras. The person I spoke to independently recommend Timecode Systems' UltraSync ONE bundle for US$915? (1 x :wave + 2 x UltraSync ONE) and I have pre-order this bundle. It is not available yet (June). This pricing is introductory.
 
Tentacles are cheap, small and ridiculous easy. I jam them to my 633 for my Reds and done. Takes all of 15 seconds. Been using them for almost a year. Not a single issue. You could even get a new MixPre and jam that to your Tentacle. Then jam your second Tentacle to your first. Total cost for that whole rig is what? $1000? And you get Sound Devices vastly superior preamps.
 
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I went with Zaxcom and haven't looked back. Get a Maxx: small format like the 633 or F4, amazing pre-amps, neverclip technology that works and lets you relax a bit on audio if doing OMB or tiny crew.

I know you asked about TC sync boxes and not recorders. The full Maxx has an internal transmitter that goes direct to camera hop with both TC and audio. So instead of a mixer/recorder, an audio hop transmitter and TC transmitter in your bag, you only have the mixer/recorder. Instead of Hanging both TC receiver and Audio receiver on your camera, you just have one unit to strap on and power. It also transmits audio to IFB units (Called ERX) with the same solid TC for more camera hops or producer notes. Maxx is certainly more expensive than F4, but it's in a completely professional class and if you add up all the accessories to make your F4 or 633 kit do the same stuff, I bet it's close or more economical.
 
Sean Solowiej said:
I went with Zaxcom and haven't looked back. Get a Maxx: small format like the 633 or F4, amazing pre-amps, neverclip technology that works and lets you relax a bit on audio if doing OMB or tiny crew.

I know you asked about TC sync boxes and not recorders. The full Maxx has an internal transmitter that goes direct to camera hop with both TC and audio. So instead of a mixer/recorder, an audio hop transmitter and TC transmitter in your bag, you only have the mixer/recorder. Instead of Hanging both TC receiver and Audio receiver on your camera, you just have one unit to strap on and power. It also transmits audio to IFB units (Called ERX) with the same solid TC for more camera hops or producer notes. Maxx is certainly more expensive than F4, but it's in a completely professional class and if you add up all the accessories to make your F4 or 633 kit do the same stuff, I bet it's close or more economical.
Click to expand...

We also use a zaxcom TC + audio solution and think it is amazing... but the reality is lots of people don't use zaxcom and for gymble work you often need smaller
 
My setup which I LOVE is zoom f8, to tentacle boxes and a denecke ts-c slate. Everything works like a charm 100 percent of the time. Its the best.
 
Jon Dishler said:
I discussed this with Gotham Sound, whom I trust, and have a 633 and two Red cameras. The person I spoke to independently recommend Timecode Systems' UltraSync ONE bundle for US$915? (1 x :wave + 2 x UltraSync ONE) and I have pre-order this bundle. It is not available yet (June). This pricing is introductory.
Click to expand...

I am kinda tempted to go with BOTH?? Is that madness. Get in on that deal, *and* get two Tentacle Syncs.

I was told late May is when they'll ship? Pity is June. Not much longer though!
 
You'll want 3.5mm to XLR to feed timecode to the Tascam? Which one is it?

Tascam is fantastic for the extremely low end (DR60D mk2 / DR70D) but of you are using TC then you should get at least a Zoom F4. And for that you want 3.5mm to BNC
 
Over the weekend I decided to test just how well the Epic W's kept timecode themselves internally, so I set up a little test since I now have two of them. I sync'd them both (warmed up for 30 minutes) to a 633 on free run and left camera power on but disconnected the sync cable connection. Next I photographed (1/1000 sec) the screens of both cameras sitting next to each other over the next couple of hours which "froze" the screens showing the timecode values. Long story short - after one hour they were at least one frame apart, and after two hours 3 frames apart (both running 23.98). My conclusion is that you really do need some sort of local timecode kit attached to the camera, unless you want to have cables or re-sync every 30 minutes. There was another thread here awhile ago where some had speculated that with the power on, the cameras can keep good time code accuracy throughout the day, but that just is not so. This does not compare a single camera compared to the 633 "master" but with these results, I would not trust it. This is not news for most of you, but I wanted to know for sure, and for a two camera shoot, the internal clock just is not accurate enough. So any of the above choices will work but one of them is required.
 
When you keep a timecode device attached to a RED body, is there a need to keep jamming frequently for safety? Or is the timecode always in sync as long as a timecode device is physically attached?

In other words, does the drift only occur if you jam the camera and then detach the timecode device?

In the past, I've been syncing in post, using audio waveforms via a scratch mic. When I update my audio recorder, I'll be sending backup audio from the recorder to the camera, so waveform syncing should be even more reliable than before, coming from the same mic. Part of the reason I've been leaning towards to Zoom F4 over the MixPre is the timecode-out on the F4, but I'm wondering if it will be that important if I'm always running the backup audio into the camera. Thoughts?
 
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There is a little green "TC" on the monitor that lights up when connected to a sending time code device, as long at that is showing, you are good. When you disconnect, the time code keeps running on the Red, but the light goes out for the link, that is where the drift begins.
 
If you have a Zoom F4, why would you need a Tentacle? Why not just jam sync between the RED and F4?
 
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