[Music] auto sync failed in resolve, uh yeah me too well what if you didn't have to ask anyone
to clap or you could freely stop and then start recording as much as you'd like and never worry
about capturing quality scratch audio for syncing up multiple cameras with external audio recorders
well actually you can by syncing with timecode and if you edit videos with DaVinci Resolve
like I do I'm gonna come alongside you today and show you some of my time code
syncing tricks you've never seen before like adjusting Source Time code on Import
and then tweaking that audio offset column on the media page to get perfect sync for Clips even
long after they've been cut on a timeline and that doesn't even touch the most significant superpower
that Final Cut Pro and Premiere never had or maybe ever will plus I've got a Bonus improved
multi-cam multi-channel poly wav audio tip that you're not going to want to miss at the end
so the problem is that after a shoot we end up with this big pile of SD cards and footage that
we've got to make sense of right multiple cameras a separate audio recorder and then the fastest way
to organize them and sort them and group them is based on the timecode that was actually recorded
during production we're going to fix it in camera right now I've been syncing sound professionally
for about 20 years now so if anyone knows I understand that waveform syncing is great but you
already know that it doesn't always work as you'd hope for in resolve and if you sync by timecode
you remove the limitation for a camera to be like right next to the audio recorder or Sound Source
because now sound doesn't actually matter on the camera anymore what is timecode actually now I
actually I got this wrong for a long time so let me clarify what time code is time code it's just
a number to track time down to the individual frame right a number to track time to the frame
if you jam sync and that's a fun word to say jam sync then the jam sync time code sets each devices
to a start with the same frame number that's the key that I missed for several years it's this they
when they start together if you always need them to be locked together over time that's gen lock
and word clock and it's outside of the world of filmmaking that we all love it's more of like a
live production system so that does mean that we will inherently drift over long recordings
because each device is writing down data to frames on its own oscillator which can actually
change with the temperature now that's enough science and that's actually why this amazing
device from deity called the tc-1 solves this problem the tc-1 has a temperature compensated
Crystal oscillator that can hold time much longer and more accurately than anything built into like
any camera I mean any camera so when you feed a reliable time code clock to each device you get
reliably consistent start times all that to say is that it makes starting to edit this big pile
of multicam footage or dual system sound fast and easy the big picture this time code workflow goes
like this oh and I Chapter Mark all the content here and create a video tips so jump to that
specific moment that you need to reference it's there for you I'm Chadwick and I'm actually here
for you now step one each device each camera is going to get its own generator that has a
Timecode clock that's in sync so if you've got three cameras you're gonna use three generators
to help with this video aputure actually sent me these devices but you really want to keep
them connected all the time two we have slaves and we have a master it sounds archaic but those are
the terms the master is the master and then the slaves get their timecode from the master simple
right ideally use the time of day like in real time which is Handy if a producer makes a note of
something that maybe cool happened at 10 am then it's simple to find in your bin and resolve just
by sorting the bin column now the deity timecode generators can output this time code as either
an audio signal that you can hear it sounds kind kind of awful like this or it can output
the time code AS metadata which is one of these rolling numbers that I'm sure you've seen they'll
eventually both just be used as a number I'm going to show you both ways and the advantage of using
the metadata output is that it skips a conversion step and that frees up your camera's mic input but
not all cameras have timecode metadata inputs so the audio output solves this problem three
you go out and you do your thing you film all day long without worry you turn the camera off
and on when you recompose your shots you don't have to worry about having tons of Clips to sync
afterwards and you can save space on video storage by not filming a whole bunch of garbage and then
four in DaVinci Resolve we're going to auto sync a whole batch with the time code metadata instantly
the sidus audio app can be managed and synchronized over Bluetooth to your iPhone but
why my favorite time code generator is this deity is because I can see everything on it without
using my phone since it actually has a screen on it check it out it seems obvious right tentacle
anyways another amazing thing is they actually include a breakout charging cable for USB that
has all three TC ones getting connected from One USB a port this is brilliant now the one thing
that I wish they would include is one or two more of the 3.5 millimeter audio cables because you do
get other cables but I need more just the plain ones the good thing is that they're cheap and I
just used some I had from tentacle and any stereo cable is going to work now deity they're also
listening all the time and recently they had a firmware update to add 23.98 support for slaving
my TC ones from my mix pre and the update was simple the download install using the iPhone app
now there's already a bunch of great tutorials out there on how the app works with Bluetooth so what
I'm going to show you today is how I actually use my sound devices mix pre as a Master Clock which
by the way doesn't need its own tc1 as long as it's a series 2 unit because they have a
real crystal clock internally and then Jam sync the deity TC-1's, all three of these as slaves
um if you're considering buying one of these deity TC ones or any cables I've got links down
below and they help support my family anytime you click on them we're going to first choose
time code on the mixpre frame rate 23.98 TC mode to Free Run side note here you want to match
the frame rate on your cameras and most cameras shoot the non-integer rates like 23.98 even when
they say 24 or 30. they don't actually mean it I'm looking at you Sony choose outputs stereo out mode
LTC out now plug a 3.5 millimeter cable into the mix-pre stereo out change the tc1 to receive line
in connect the cable and boom we've got matching timecode basically now unplug the tc-1 and change
it to L out or a out depending if your camera is going to take audio or metadata time code A is for
audio time code and lock for safety now if you get stuck and you need to make changes you triple tap
the main button to unlock so here's the camera setups I have going on the Sony fx3 as metadata
timecode change the TC to preset and Free Run and use a deity TC3 cable or the vmc BNC M1 from Sony
with a BNC to 3.5 millimeter cable to plug it into the USB multi-port you should see the EXT timecode
change now for the Sony a74's audio time code just make sure the tc1 is set to Output audio time
code you plug it into the mic Jack maybe lower the volume a little bit from the default 26 and you're
good for the bmpcc 4K the Blackmagic pocket Cinema Camera 4K that's always a mouthful to say ensure
that the tc1 is set to L for the L output it's linear time code but in this case we're actually
going to still put it into the mic Jack and even though it's going into the mic Jack it's going
to take linear time code with the metadata time code from the deity box it's not going to use that
audio of awful audio time code that you have to convert now you can freely record your video stop
and start cameras as needed I like to keep the audio recorder rolling for long takes because
sometimes there's sound that is kind of unexpected and then you can actually still use that to edit
into your video with some b-roll oh and if you're learning anything new today please like this video
so more creatives like you can see and learn this stuff too [Music] in general you can just drag
your Clips right into DaVinci Resolve and put them in a bin oh and when you drag from finder
into resolve if you do it to the left side you'll actually maintain your bins from the finder and
you can access all of them at once still by just shift selecting them but here's three quick tips
to fix any timecode differences you might see in resolve now if you use the same camera and set up
all the time and you know there's a difference between the audio recorder and the camera time
code sync you can actually change how resolve sees the time code when you import it to fix
this difference my Sony fx3 and Blackmagic cameras both seem to need a negative 1 or negative two to
match up with the sound devices mixpre none of these steps actually change the actual time code
of the files which is important to know that means if a system outside of resolve needs to
link to them for finishing this is not the ideal workflow but this is great if you do all of your
post-production inside of resolve because we're changing resolve only metadata to add them with
Offset you do this from the media storage area by right-clicking and saying add to Media pool
with offset and then for this I'm going to choose negative two apply and it has modified resolve
only metadata I'm going to do this same thing with the B raw Clips over here add an immediate pool
with offset I'm going to change this to negative two and apply this would be for video files with
linear time code only so to recap I use about negative 1 negative 2 on the cameras that I've
got your mileage is going to vary and then to sync them you just select them again you right click
and say auto sync audio based on timecode you can append if you want just to add the new audio it's
all just metadata though and it's completely non-destructive update time code from audio
track converts that audio signal time code on my cameras like the Sony a74 or really any camera
with a mic input into usable metadata time code inside of resolve it's as simple as right-clicking
just like so much else in this tutorial and you choose to update the timecode from audio track and
boom you'll see the time code values change right away the a74 time code matches very closely to my
audio recorder Master time code but you can see it doesn't match exactly if I step through here
see it's a little bit late however you can change this value after you
converted it by right clicking and choosing clip attributes going to the time code tab
over here and choosing plus one Frame works for the a74 we click ok and then we sync it again
we can say right click and choose auto sync audio based on timecode and let's check out the sync now
perfect so yeah that's even another way to modify timecode in resolve
finally use the audio offset column for Perfection this isn't a Time code exclusive trick it's just
an audio sync tip it's even going to fix sync for clips that are already on a timeline start
by showing full clip audio waveforms in the viewer on the media page this is under the
three dot menu show full clip audio waveform if you have a visual cue like a clap you can
go directly to that frame to see how close the sync is I actually also have a very famous B
and P trick that I teach in this tutorial that's going to be super helpful if you
don't have time code or audio waveforms to sync against so after you've Auto synced or manually
synced dual system audio from an external recorder you can open up this audio offset
column just by right-clicking and checking the Box let's also choose the angle column to be
visible for a later step in this tutorial back to the audio offset column in this case I did
not use the import offset so you can see we're about two frames out of sync if I step through
so to fix it I can just select the audio offset column and change this value directly right
in here so -2 from here would put us at about 312.7 we can check it again here in the viewer
and we have perfect sync you can get very granular with this for extreme precision
now is actually the best time to create proxies not before proxies make it easy to play back
footage on any computer and can sometimes make smaller files that make the originals
a lot easier to send over the Internet first set the proxy settings you want to use go to
the project settings that's the gear icon in the lower right Master settings and change your proxy
media resolution right here in general I choose half res prores proxy this makes a 1080p file
from a 4K source and it's going to play on a 10 year old computer easily now if you're on Windows
choose dnxhrlb for a really similar file to make the proxies you just select them in the media pool
you right click you guessed it and choose generate proxy media the reason we waited until now to
create the proxies is that we're actually going to get our linked external synced audio included
in the files with our updated timecode on the other hand the external proxy generator app that's
actually great for several reasons but is now what you want to use when you need a custom your
settings and also include that high quality audio now when your proxies are done you can check to
make sure that they're actually created by opening the column layout for proxy and proxy media path
that'll let you know they're there and then to actually use them you go to the playback menu
proxy handling prefer proxies prior to creating the multicam I like to assign angle metadata to
each camera to help Place clips from the same camera on the same multi-cam tracks that way
they're not stacked all super tall batch select clips from the same camera by shift selecting
them open the metadata panel in the upper right and change the view to all groups and now change
the angle to one two three Etc but don't forget to hit the save button at the bottom and this
is going apply that same angle to all of them at once rinse and repeat applying angles to all of
the camera clips but don't forget about the audio which I want to also include in our multicam clip
so we're going to assign angle 4 to that and since it's one single clip it's saved automatically Now
to create the multicam with your timecode synced Clips it's easy you just right click you choose
create new MultiCam clip using selected Clips you change the angle sync to timecode angle name
to metadata angle and detect clips from the same camera with the option for metadata angle as well
now I personally I uncheck the box for move Source Clips to original clip bin because well I'm kind
of a control freak and I like to organize things myself maybe you can relate hit create and then
you can right click on the multicam clip to open in Timeline just to check to make sure everything
thing worked out I'll link to tutorials on editing multicam but here's a bonus tip that
I've picked up since teaching about multi-channel multicam and resolve that's going to save you time
resolve multicam Clips they kind of like to create adaptive audio tracks which is kind of like it's
like a mix down of all the audio channels so the way I like to get access to all those individual
channels from that mix down on the edit page is just to get them when I need them by doing this
little trick with the multicam viewer open change the sound to the audio angle that's got the good
sound that's obvious right even though it's still a mixed down adaptive track we're going
to fix that right now okay option click just the source audio and then go up to the viewer and then
choose Source there as well and go up under the clip menu and now we're going to use match frame
to Source clip with this audio selected this is going to take you directly to the polywave
multi-channel source and then you can simply do an overwrite edit back onto the timeline so it's a
match frame to Source clip and then and overwrite edit match frame source clip overwrite edit match
frame to Source clip is different from the normal match frame which matches the frame that's on the
timeline up into the source monitor this actually goes a bit deeper and it's where you can actually
get to the source audio very quickly to overwrite edit you can just hit F10 on the keyboard or just
drag to the right Monitor and see the pop-up for overwrite then you just release oh and you can
also batch change your audio track types to Mono using the edit index panel that's up here just
click on the tracks shift select the tracks and finally right click to make the format to Mono hey
I'm Chadwick I'm here to help you create videos that make a difference and stand out if I was able
to like teach you anything new today please let me know down in the comments what that new thing
was that helps out a lot I really appreciate all the feedback and if you're new to editing multicam
check out this video next and because there's so much more to learn I'll see in the next video