PLURALEYES 4 EXPORT AAF MANUAL
I spent a Looooong time working in audio so I do not find manual sync to be at all difficult.
PLURALEYES 4 EXPORT AAF SOFTWARE
I'll use software when it actually proves itself to work and to work reliably, but I ALWAYS start with brute-force methods that might take more time but are simpler or more certain to work right the first time. Multi-cam/Multi-audio is what it is.complex. Is there an easier way?Īn easier way? I don't know. Which is why I'm writing this in the first place. But that's if I get the camera with Timecode which I don't have right now. The output is still only -4db but I think with timecode I'll be able to sync easily using Resolve. I've been looking at the new Zoom F4 or F8 with the idea that someday I'll be upgrading to a different camera that will have timecode. But it's usually better then a camera mounted mic. It's still is not a usable track because the line-out on each of these is only -4db rather then the +10db like the Sound Device gear. I primarily use a DR-680 with a DR-60D occasionally. Like Iain I also send line-out to my main camera to make it easier to sync.
I can edit Resolve for really simple stuff but there is still much I need Premiere for not to mention the added bonus of all the other integrated software in CC. Once you get over the bigger file sizes the benefits far outweigh the drawbacks. I guess I should mention that I almost always just shoot RAW. The only thing wrong with this is that you end up doing a lot more work in preliminary color prior to syncing because you just don't know what you'll need. I often shoot multicam from these choices and sync almost identically to how Iain details in his post, although I use Premiere rather than FCP. Specifically how do you sync in Resolve? Are you using software or just manually? I'm pretty much shooting gear similar to what you are. I think there's just no good reason NOT to do it immediately. Sounds like you also prefer to address audio sync right away. Ditto for any audio filters you need.Nice. You can colour-correct the individual angles in the multicam clip rather than correcting each top-level clip on the timeline, much easier. In the edit, I pick the audio source(s) I want, and from there I usually just cut the video angles. Normally I'd make a multicam clip for each separate instance, but some people do prefer to make a single multicam clip for an entire interview, no matter how many stops and starts there have been. If I have time during a shoot I might ingest and sync on my laptop, otherwise it's back at my main Mac. Clapping loudly a few times once everything is rolling is enough to safeguard you if the cameras are far away from the source.
All cameras and audio recorders get their own angle in that multicam clip, which syncs automatically so long as every camera records audio. For that, I use FCP X and make a multicam clip. The original sound is just a *little* cleaner, but for really important stuff it's worth syncing the external audio file. I record external audio to a DR-60D, and if I'm shooting with my BMCC I'll send a passthrough cable to record directly into the BMCC as well. It would be much better to move the sync up to immediately after ingest. My problem is that rather than trimming right away prior to initial color I have to wait until much later in the process. The Premiere file is automatically updated.Īny FX are handled normally through each piece of software. If any color needs secondary grading I just look up the file, locate it in Resolve and after renaming the initial grade as a version render the revision. Still in Premiere I trim all the footage. Then I import and sync the separate audio using PluralEyes. Next in Resolve I establish an initial grade and output ProRes 422. Once we're back from the shoot and I ingest all the media.
PLURALEYES 4 EXPORT AAF 1080P
Here's my workflow for a 1080p ProRes 422 deliverable: When it's possible I run a line-out to the camera, but that's only in relatively slow moving shoots. I also try hard to record a scratch track that's better than just the camera but it's rarely better than the hero audio track. How do you sync audio? What's your step by step workflow It's keeping the corrected tracks in place as adjustments are made. Syncing audio causes me all kinds of problems.
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