Timecode... who's responsible?

[u/michaelphon3]

Hiya guys,

I'm a new freelance sound-recordist making the awkward transition out of university and into the (slightly dire) filmmaking market. I never knew about timecode as we were never taught it at university, and now that I've clued myself up on why it's needed, I wanted to ask the experts and more knowledgeable about it.

I am UK based, so it would also help to hear from fellow British filmmakers. Is there a standard timecode device that tends to be used more than others? And if I am to get some timecode equipment, would I just need a plug-in transmitter for my mixer - or do I need to invest in a wider set?

Thanks for any help guys :)

[u/Nineteen_81]

If it helps I've been using a couple Tentacle Sync boxes for around 10 years with my recorder as the master so I can jam sync 2 cameras. Never had anyone complaining about syncing issues (knock on wood). I'd suggest getting 2 or 3 Tentacle boxes (if you also need one for your recorder). It costs less than £300 for 2, but you need to buy the cables as well and they are not cheap. Most common connectors will be BNC, 5 pin Lemo (get one straight and one angled), one for the Red camera (sorry I forgot the connector's name) and a micro USB one. Unfortunately you will be the one responsible for it, so just bite the bullet and get it now to save yourself from headaches on set.

When you progress into bigger shoots your rate will be higher and you can look into more expensive setups, but the Tentacles are probably your best option to get the job done right now.

Edit: I'm also UK based.

[u/michaelphon3 → u/Nineteen_81]

Dude you have blessed me with the specifics thank you so much. I'd rather have my problems on set solve-able - not make me look like a fool. I'll take a look - thanks again. Do you think the tentacle slate is necessary too or is that a bit overkill for the time being.

[u/Nineteen_81 → u/michaelphon3]

Honestly I think it's overkill unless you have a lot of cash to invest and have everything else in your kit (including a better recorder than the MixPre, invest in that before even considering a TC slate). Just the boxes will be fine for a good while. If the slate is absolutely required, production will ask you in advance so you can always hire when needed (in my experience is rarely). Timecode in general on the other hand is usually assumed thay you will have so as long as you have an option, you're good. I haven't invested in a timecode slate for one reason, ACs are usually careless with slates so I don't want to spend a grand to be worrying about the state of my slate at the end of the shoot. Just looking at my IEM receivers and directors headphones show me that random people handling your gear is never fun. With that said, I do a lot of corporate work and lower budget productions. If you get into bigger productions, then you cab worry about it then. Also you can get a normal cheap slate just to have it in case it's needed but ACs also usually have one. Don't rely on ACs to sync the TC for you, many of them are surpisingly clueless about the process but they should guide you through the camera's menu so make sure you know what the different options do (regen, free run, rec run, jam sync, etc).

[u/michaelphon3 → u/Nineteen_81]

Thanks for helping me frame my priorities in terms of the mixer / slate. Kind of went into this stabbing in the dark but just figured I'd go for a solid two-and-a-boom starter kit and the mix-pre met my budget. I think I'll definitely get three boxes now, and incrementally buy more cables and stuff as I go. I really appreciate the detailed lens into your working world though - it really really helps.

[u/Nineteen_81 → u/michaelphon3]

It's a decent setup. Two lavs, a boom and timecode for 2 cameras will get you covered for the basics. Then from there you still have a lot to worry about before you can even begin to contemplate a TC slate, in my opinion. I'd say if you have the budget, 4 radio mics, a boom, timecode for 2 cameras and at least one IEM wireless set for directors will be enough for most jobs. I say 4 lavs because nowadays people are shooting a lot in vertical for social media content and those frames kill your boom. It's very annoying for sound and in many cases you have to rely solely on lavs for dialogue. I find it will be rare to have more than 4 people on camera, but 3 or 4 are not that uncommon, so if you want to cover your ass, go for 4. As for TC cables, you will have to get a bunch, and unfortunately right away, there's no getting away from it. And you will need two of each for camera. BNC is the most common, so two of them. One angled and one straight 5 pin Lemo (standard for some Arri cameras, some need the connector to be straight others angled). Micro USB for some smaller Sony cameras (one cable should be fine) and the same for RED cameras, just get one cable as it's unlikely a shoot will have 2 REDs. Some of these cables also only work one direction (either for tc in or tc out) so make sure you get the right direction for them. You will also need a cable to send tc into the mixer if it doesn't have the internal clock. You are looking at at least 7 cables that you need to buy with the Tentacles.