Timecode on the Nikon ZR + DJI Mic 3 (King wedding, Sat 2026-10-17)

Why the pull-day and push-day clips were silent

The ZR's 3.5 mm jack is shared between audio in and LTC timecode in. With

Timecode > LTC signal input = ON, the camera treats whatever is on that jack as timecode: the

meters still move (LTC is an audio-band tone, and so is your voice), but no external audio is

recorded and headphones/HDMI audio go silent (Nikon manual, Timecode page). Two shoots recorded

digital zeros for exactly this reason. LTC signal input ON = no mic audio on that jack. Period.

The ZR jams once: it takes the timecode from the jack, then keeps counting on its own even

after the generator is unplugged (the TC readout's background turns red to say "not connected").

Free run keeps counting with the camera switched off.

Timecode needs a MOV/R3D/NEV file type. H.264 8-bit MP4 does not record timecode.
Drop frame ON for 29.97 / 59.94 / 119.88; OFF for 24 / 23.976 / 25.
DJI Mic 3 receiver timecode modes: N/A (runs TC internally, outputs audio only), L-IN,

L-OUT (outputs LTC on the 3.5 mm, 0.5 Vp-p), A-OUT (puts an audio-timecode tone on the

LEFT channel of the audio output). The receiver re-syncs both transmitters automatically, so the

transmitters' internal recordings carry the same timecode. Drift 0.5 ppm (about 1 frame a day).

DaVinci Resolve syncs by timecode (AutoSyncAudio, timecode mode) and can read LTC from an audio

track ("Update Timecode from Audio Track") when the A-OUT method is used.

Do this at the venue before the first shot, and again after any long power-off.

Receiver: Settings > Timecode > ON. Mode L-OUT. Source: time of day (free run). Frame rate = the camera's recording frame rate (the ZR's TC rate follows the project frame rate).
Camera: Video recording menu > Timecode: Record timecode ON, Count-up Free run, Drop frame ON if 29.97/59.94, otherwise OFF. Then LTC signal input ON.
Jam: receiver 3.5 mm OUT -> camera MIC jack (3-pole TRS camera cable, the one from the DJI box). Watch the TC readout on the ZR: within a few seconds it matches the receiver. Done.
Restore audio: unplug. LTC signal input OFF. Receiver mode back to N/A. Plug the receiver back in as a microphone. Audio input selection = External mic, sensitivity 10-12, plug-in power OFF.
Prove it: record 10 s talking, play it back with headphones. Check the TC readout still shows the jammed time of day. Only then start the day.
Transmitters: internal recording ON, 32-bit float ON, both TX on the whole day (TX1 on the groom or officiant, TX2 at the lectern / on the DJ board / wherever vows and speeches land).
Re-jam at any break if the ZR has been powered down more than a few minutes (belt and braces).

Post: Resolve media pool > select the ZR clips + the TX WAVs > Auto Sync Audio > Timecode.

Sound Pass then runs on the synced timeline.

The one thing to verify at home tonight: that the ZR keeps the jammed timecode after you turn

LTC signal input back OFF (the manual says it keeps counting after disconnect; it does not say what

the menu toggle does). Test: jam, toggle OFF, record a clip, compare the clip's TC in playback with

the receiver's display. If it holds, Workflow A is the plan. If it resets, use Workflow B.

Camera: LTC signal input OFF all day. Record timecode ON, Free run (its own TC is ignored).
Receiver: Timecode ON, mode A-OUT. The camera now records a timecode tone on the LEFT channel and the microphone on the RIGHT. Headphones work (you will hear the buzz on the left).
Transmitters as in Workflow A.
Post: Resolve media pool > select the ZR clips > right-click > Update Timecode from Audio Track (LTC, left channel) > then Auto Sync Audio by Timecode with the TX WAVs. The camera's left channel is never used in the mix.