Every camera.
In its time.
Sync footage by timestamp. Phones, action cams and consumer cameras never had timecode, but they record when each clip was shot. Timebomb reads those recording timestamps and lays every clip out on your Premiere timeline by time of day, in one click. Shooting pro cameras too? Recorded LTC and embedded timecode come first, so consumer and professional footage land on the same timeline. Want it tighter? Turn on Align audio to fine-tune timestamp clips against the sound. Timestamp + timecode, all in one.
Finally, sync consumer cameras.
Pro cameras too.
Phones, action cameras and mirrorless bodies have no timecode, but they all write a recording timestamp. Timebomb uses it to lay every clip out on your timeline by the time of day it was shot, with the gaps and overlaps that actually happened. Cinema cameras and audio recorders with real timecode drop into the same timeline.
Keep recording gaps preserves timestamp placement. Close gaps removes only the two intervals where every track is empty; camera and audio offsets stay aligned. Illustrated workflow, not a live Premiere timeline.
One source. One track.
Drop each camera or recorder’s footage onto its own track in your sequence. Linked camera audio follows its video.
Timecode first. Timestamps for the rest.
Turn on Detect timecode and Timebomb uses recorded audio LTC first, then the file’s own timecode, then recording timestamps for everything else. If a camera’s timecode wandered away from its own clock, those clips fall back to their timestamps. Ignore the date when only time-of-day matters.
Place. Adjust. Repeat.
Press timebomb to build a new, arranged sequence. A camera clock off by a minute? Add a track offset and run it again without accumulating shifts. Turn on Align audio to fine-tune timestamp clips against overlapping sound. Changed your mind? Stop interrupts a run safely.
Organized.
Without the guesswork.
Timebomb runs entirely inside Premiere Pro. No other apps to install, no round trips. It gets your assembly close using the recording timestamps and timecode already in your media. Timestamps aren’t frame-accurate sync, but they’re close enough to get you cutting. Align audio can tighten them further, and you make the final call.
Is this frame-accurate or sound synchronization?
Timecode clips are placed from their timecode, snapped to your sequence’s frame grid. Timestamp clips land where their camera clock says. Turn on Align audio and Timebomb matches the sound of timestamp-placed clips against overlapping recordings and nudges them within ±30 seconds, only when the match is clear and agrees across that camera. Timecode clips never move, and a clip is never shifted into an overlap. Timebomb does not correct drift within a clip, and camera clock settings and metadata quality still determine how close the result is.
What happens when a camera clock is wrong?
Apply a positive or negative offset to that track, entered as seconds or HH:MM:SS. Ignore date compares time-of-day only. If one camera’s clips land far from the others, Timebomb shows a warning before you run it but never blocks you. Timecode that doesn’t follow the camera’s own clock, such as record-run or an unjammed sync box, falls back to recording timestamps. A recorder whose date was never set is placed on the shoot’s day automatically.
Does it handle audio and extracted copies?
Standalone audio gets its own track controls; linked audio follows video. Recognized extracted copies can use their original recording’s timing. Different-length renders are marked Source estimate and may need an offset. Conflicting clips on the same track stop placement so you can put them on separate tracks.
Mixed frame rates, drop-frame or past midnight?
Each source’s timecode is read at its own rate and drop-frame or non-drop convention, then placed on one shared clock with your other sources, including shoots that run past midnight. Placement snaps to your sequence’s frame rate. Cameras that split one take into several files keep every file on its timecode.
Is my original footage safe?
Yes. Timebomb only reads your media. It never writes to, renames or moves source files, and every run builds a new sequence, leaving your original sequence and earlier results untouched. It never saves your Premiere project for you. Pressing Stop mid-run reopens your original sequence and removes Timebomb’s unfinished copy.
What do I need to run it?
A Mac running Adobe Premiere Pro with CEP extension support. Premiere Pro 2023 or later is the target; your Mac must meet Premiere’s requirements. Apple silicon and Intel media tools are included. No separate FFmpeg installation. Footage on network drives is supported; Timebomb reads only the parts it needs. File support depends on readable media and usable timing metadata.
How does the license work?
$49 USD once. One person may activate two installations for personal and commercial work. No redistribution or shared licenses. Checkout delivers a download and unique license key. Internet is required for activation and periodic verification; successful verification allows up to seven days offline. Deactivate a Mac before moving to another installation.
What stays on my computer?
Your footage, audio, project names and sequence analysis stay local. Activation sends your purchase key and a random installation identifier to Tographer’s licensing service. Media files are never uploaded for analysis. Analysis results are cached on your Mac so reopening a project is faster.
How do I install it or get help?
Quit Premiere, extract the download, run Install Timebomb, then reopen Premiere and choose Window → Extensions → Timebomb. Activate with your receipt’s key. Keep your Payhip receipt for download access. Contact Tographer if you need help.
Stop sorting footage.
Start editing.
$49 USD · one-time purchase