The Red Epic Timecode video above is pretty self-explanatory, but you never should assume these things since it isn’t amazing. So here goes:
Running from a 664 with the time code source set to internal and at the same frame rate etc… I have a BNC connection at the end of my time code IN/OUT cable from my mixer because then it is easier to get tails for different cameras and extend to whatever length you need in the middle.
You see this in the video where the tail is already connected to the camera and I can just click in and out without accidentally pulling the plug on what is frankly a stupidly designed camera… This, however, is a sound blog so maybe you expected that. On the plus side it has been keeping time very well and only jam every few hours because I have too much time and people have eaten all the food, haha. Red Epic Timecode.
If you don’t see them syncing right just unplug and re-plug the camera (in my case the BNC attachment) and it should jump into sync. I shall also endeavour to make a video for the Red Epic Timecode as well, even though it is the same effectively im interested in how it holds up by itself.
Well that’s all for now but if you want a video for Timecode jamming the Arri Alexa Mini, which in the video I pronounce Alexia for some reason?!? Or a list of what cables you need to timecode jam different cameras then please enjoy.
London Sound Recordist
I am a London Sound Recordist and Sound Editor for many types of projects around the film genres. This covers creative content right through to feature films. I am passionate about sharing my journey and knowledge to help the rest of the community. If you need anything from me, feel free to get in touch with me at London Sound Recordist.