Every camera.
In its time.
Sync footage by timestamp. Phones, action cams and consumer cameras never had timecode, but every file knows when it was recorded. 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? It also reads embedded timecode and recorded LTC, so consumer and professional footage land on the same timeline. 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.
Timestamps first. Timecode when you have it.
Recording timestamps work on every camera and phone, so start there. For pro cameras, switch a track to embedded file timecode or recorded LTC. Ignore the date when only time-of-day matters.
Place. Adjust. Repeat.
Press timebomb to arrange the clips. A camera clock off by a minute? Add a track offset and run it again without accumulating shifts.
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, and you fine-tune from there.
Is this frame-accurate or sound synchronization?
No. Timebomb places recordings using timestamps and timecode. It does not match waveforms, correct clock drift, or guarantee frame accuracy. Camera clock settings and metadata quality 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. Record-run timecode needs an offset because it does not reveal the actual shoot time.
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.
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. 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.
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