#PLURALEYES 4 ISSUES PRO#
Supported NLEs are Final Cut Pro 7, Final Cut Pro X, Avid, and Premiere. Click the Export Timeline button, and you’ll get the option to choose your editing format: Things are lined up, and now it’s time to export. When it’s done, you should see something like this: Then sit back and watch your footage move into sync with the audio automagically.
Now click the Synchronize button at the top middle of the screen. It will slow down the time it takes to sync, but do the best job possible.
#PLURALEYES 4 ISSUES SOFTWARE#
Of course you want your software to do that, right? Leave it on. But I figure why not start where you’re going to end up? So I leave it on all the time. Checking this box will raise the levels on your reference track so that it can work with it. Red Giant suggests leaving this one turned off by default, and only using it if you have trouble getting files to sync. Level Audio. Sometimes the audio on your reference track will be too low for a good match. If for some reason your recorder audio doesn’t match the reference audio throughout the duration of the clip, this will fix it by very subtly stretching or shrinking the length of the file so that it lines up. This is a killer feature, so be sure it’s turned on. The only time I can think of that you’d want to turn this off is if you have named your audio or video files something other than sequential numbers prior to sync.Ĭorrect Audio Drift. Most of the time, your audio clips and video clips are recorded sequentially. But first, let’s take a look at the sync options:Īllow Sync to Change Clip Order. So now we’re all ready to sync our footage. Once you’ve loaded all the files, you should see that PluralEyes has organized each camera’s footage onto its own track, and audio as well, like so: Try dragging one camera at a time into the window, and wait for it to finish processing, before dragging in the next one. I’ve observed that PluralEyes can get confused if you drag all of the video files in at once. It will also attempt to figure out whether the video files you’re dragging in are from different cameras. PluralEyes is smart enough to figure out which files are audio files, and which are video files. To get started, drag all of the audio files into PluralEyes target window (you can drag them all at once or one at a time). Each camera was recording audio (which I’ll refer to as reference audio, or a reference track.) The high-quality audio was recorded separately with a Tram TR-50 lav mic clipped to the talent, recorded onto a Zoom H4N via a Sound Devices MixPre. The subject, a video blogger, also contributed footage that he was shooting himself, for three cameras total. My camera assistant shot with a second camera. OK, let’s dive in. I’m going to show you how I synced footage on a multi-cam shoot I did to produce this profile video: PluralEyes lets you batch sync all of your clips at once. If you’ve been shooting all day, this starts to look a lot like syncing the old fashioned way: tedious. That means you have to tell it which clip goes with which audio, and then press the sync command for every clip. But the complexity, not to mention the cost of cameras and recorders that support this method, puts this solution beyond the reach of many smaller filmmakers.īut, if you’re a small filmmaker, why shell out the $199 for PluralEyes to sync audio and video? Isn’t this capability built into Final Cut Pro X? Yes, but FCPX only syncs one clip at a time. There are other ways to keep your audio and video in sync, such as using genlock to match the timecode between recorder and camera. And you wouldn’t want to limit your shot list to 6 inches from your talent, would you? Ninety percent of success in recording dialog depends on getting the mic close.
Many beginning filmmakers think they can cheat and just stick a shotgun mic on top of their camera, and call it good. Someone whose job it is to make your production sound awesome.
This is sound recorded the right way: by a sound recordist. With PluralEyes, an application included in Red Giant’s Shooter Suite, all you have to do is record reference audio on your camera, and let software do the rest.īut before I get too far along, let me be clear that what I’m talking about here is dual-system sound. There may still be good reasons for slating your takes, but syncing footage is no longer one of them. Then, editors had to meticulously nudge the two together before they could go to work on more creative tasks. Back in the old days, filmmakers had to clap wooden sticks together to match sound and picture.