Let's start by going into the TimecodeMenu. And there is a couple of things we are going to want to configure in here. I will go ahead and attach it to the back and power it on. Let's go ahead and get it attached to the Ninja. Now, there is a few other neat tricks on this device but we will talk about those in a minute. Since the battery attaches to the back of it, Atomos built into this a small battery itself, so that when you are shooting, if your battery starts to go low but you don't want to stop recording, you can actually take this battery out, swap it with another one, put it back on without ever stopping. Once this is attached to the Ninja V and you'd slide your battery in here like so, you now have everything you need to generate timecode and record accurate timecode onto your track. This device can be the master or the slave on the network. That means, it can both transmit and receive timecode. So, this actually has a couple of neat tricks up its sleeve, but at its core, it is a timecode transceiver. And it actually sits between the Ninja V itself, and the battery. This little guy right here attaches to the back of your Ninja V.
#Prosync hdmi review how to#
So, let's talk about how to do it starting with the AtomX SYNC. There is lots of reasons you may want to use timecode. Or maybe you are on a really big location like a football field, and you have cameras all over the field and they are shooting all at different times starting and stopping throughout the game, and you want to make sure that all of those cameras can be brought into perfect sync, audio is never going to work in that situation. In these situations, audio is simply not going to work. Or maybe shooting into a car you have got a couple characters in a car shooting a dialogue scene, you are outside of the car, or maybe the cameras even mounted on the car, and so, you have wind noise to contend with. However, if you are on a bigger set, maybe you have got a camera that is farther away, up on a rooftop or down the road, out of range of being able to hear your subjects, then audio sync is not going to work.
And that is perfectly fine if you are in a small set like this here and all the cameras are close enough to you to hear everything you say. Let's start by answering the question, “why?”,why bother with timecode? If timecode is there to synchronize your shots, can't you just do that with the audio track? I mean, every modern NLE will easily take multiple clips with audio on them, find how they sync up, and build a perfect multicam clip.
#Prosync hdmi review Pc#
If I told you that you could synchronize your video and audio content with perfect timecode sync on an Atomos Ninja V, along with another Atomos Ninja V, plus a camera like the Lumix GH5S which has timecode support via the PC port, or a camera like the Lumix G9 which doesn't have timecode support at all, a recorder like the Shogun 7 which has good old-fashioned timecode input, the app MAVIS on iOSwhich is an advanced video recorder including timecodesupport, 32-Bit float audio on a Zoom F6, video on a Gopro, audio recorded on the MetaRecorder app on iOS, and your slates using MovieSlate 8, is that something you might be interested in? Yeah? Well, let's get into it.
#Prosync hdmi review free#
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