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IronFilm

Atomos Ninja V modules - Now All Your Stills Cameras Have Timecode!

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https://www.newsshooter.com/2018/09/17/atomos-ninja-v-modules-ibc-2018/

This is exciting news for any slightly more professional shoots who are either using multiple cameras and/or an external audio recorder, as Atomos is partnering with TCS to use their :blink network with their AtomX Sync module. 

Now all your stills cameras (such as the Nikon Z6) that are recording 10bit externally will have flawlessly done timecode (without needing to do any Aux LTC to TC conversion in post). 

I'm personally especially happy about this news, because Timecode Systems is one of the two brands I'm invested in! Thus the Atomos Ninja V will be compatible with my existing kit. 

 

 

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Yes, because previously the only monitor/recorder I knew of which does timecode is the pricey/bulky 7Q. 

Otherwise you have to use the Aux LTC work around. 

Or have one of the very rare stills cameras which is at the moment kinda only sort of the GH5S. (but maybe soon also the Nikon Z6/Z7)

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Actually's the AtomX modules are cheaper if you're already using the monitor.  Timecode has truly become mind boggling cheap to use on set!

And no, you do not need to use an external audio recorder with Tentacles. 

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37 minutes ago, IronFilm said:


And no, you do not need to use an external audio recorder with Tentacles. 

you will need to explain this, because I can't see how you wouldn't need and external recorder if you're feeding audio timecode into the camera.

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Obviously if you need an external audio recorder for a shoot (say for recording various dialogue) then of course you need one. 

But if you don't? Maybe you're shooting a music video or whatever else it might be, but still rolling multi camera. Then no, of course you don't need an audio recorder purely for the sake of supplying timecode. Your TC boxes can do that stand alone.

 

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38 minutes ago, jonpais said:

But he’s saying you need to spend at least $900 to get this functionality. That is not cheap by any stretch of the imagination. And if you need to buy more than one unit... ?

This is assuming of course people would already be buying a Ninja V for their Nikon Z6  or Panasonic GH5 (to get 60fps 4K 10bit) or etc

But even if not... no problem! Just buy TCS Ultrasync ONEs, which cost around the same as a Tentacle Sync E anyway. 

 

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7 minutes ago, IronFilm said:

Obviously if you need an external audio recorder for a shoot (say for recording various dialogue) then of course you need one. 

But if you don't? Maybe you're shooting a music video or whatever else it might be, but still rolling multi camera. Then no, of course you don't need an audio recorder purely for the sake of supplying timecode. Your TC boxes can do that stand alone.

 

`

This is assuming of course people would already be buying a Ninja V for their Nikon Z6  or Panasonic GH5 (to get 60fps 4K 10bit) or etc

But even if not... no problem! Just buy TCS Ultrasync ONEs, which cost around the same as a Tentacle Sync E anyway. 

 

Will you need a Ninja for each camera, or just one?

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19 minutes ago, jonpais said:

Will you need a Ninja for each camera, or just one?


Only for those cameras you want to record 10bit from and/or use a fantastic monitor with. 

For the rest, you can attach an Ultrasync ONE to (which cost roughly the same as a Tentacle Sync E does).

 

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The Ninja V is becoming more relevant with every new camera announcement and no doubt will become even more so with further announcements at Photokina.

They've got the form factor down, the price down and their timing couldn't be any better with these new cameras all having 10 bit 4:2:2 outputs.

The Ninja V addresses the challenges these new cameras may have in terms of monitoring, codecs, storage and even screen orientation and also offers the same thing for the other cameras that you already own.

The add on modules for it make it even more powerful (the NDI one is a bit niche for many here but its very exciting for those who need it ;) ) and I would guess that somewhere down the line we will see an SDI input module as well.

It would be even better if we didn't have to pay the same in pounds as it is in dollars of course but even with that premium its a really cost effective way to massively upgrade every camera you have that has an HDMI output :) 

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I need to learn this timecode stuff.

I have a GH5 and also use a Tascam DR-70D, the Tascam doesn't have timecode..  While I haven't found it too difficult to sync the audio in Reaper, I'm guessing using timecode would make it flawless?

It would also make me use my Zoom F4, which I have sadly yet to use.

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2 hours ago, buggz said:

I have a GH5 and also use a Tascam DR-70D, the Tascam doesn't have timecode..  While I haven't found it too difficult to sync the audio in Reaper, I'm guessing using timecode would make it flawless?

Yes, if timecode is working then syncing should be instantaneous. 

Also all those times that trying to sync via the camera audio track which might have failed? Such as if it was too windy for the camera mics, or the camera was too far away, or on the other side of a window.

Timecode cures this. 

Also it depends on a person's usages, just doing a couple of hours of interviews indoors? Not a big deal at all if missing TC. Doing an entire feature film across dozens of locations? This would be saving a major post workflow headache!

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For post: any mainstream NLE will have the option to sync by TC


For during the shoot: the sound recordist jams (usually set to zero or TOD) all the boxes to his recorder (if using that as master, which I usually do) then distributes it to the AC to put on the cameras (under my supervision usually if it is the first time working with them). If I have a boom op I trust I might delegate the 2nd half of this job to them. 

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9 hours ago, IronFilm said:

I'd recommend syncing at the start, then handing over OMF/AAF to sound post after there is a picture lock. 

Thanks for the explanation! I had a suspicion syncing was usually done before editing. However, on my projects, I AM sound post ? Which gives me a lot of flexibility in making my own workflow.

My ideal workflow would be to get picture lock without ever importing audio files into Resolve, and then send my project to Reaper. It would be nice to simply be able to import an audio file to Reaper, right click on an audio clip and have some sort of "align to timecode" button. Afaik this feature doesn't exist, BUT Reaper has some extensive scripting capabilities, so I will look into creating this feature myself. I imagine I'd have to loop through all media items from my picture edit, read the timecode and duration, and then use that info to tell whether or not the audio in question should be aligned to that media item.

The benefit of this would be: less synchronization required between Resolve and Reaper, no importing audio to Resolve at all, and audio sync issues would be solved in Reaper instead of Resolve.

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You don't use the Fairlight audio tools in Resolve?

I haven't as yet, it used to crash on me, but I see now it doesn't, I'll have to try it.

I really like Reaper, I paid for mine, and have been using for a long time, many plugins, I love the iZotope ones.

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