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drag'n'drop right files > sync > export XML Well, let's not take into account errors, mistakes etc in PE, here's roughly my WF in Resolve :
#Pluraleyes 4 sync bad manual
I can understand, there's something "special" in the Resolve workflow, which also took me time in the beginning (I was faster in manual sync in FCP7 than in Resolve with PE for weeks !). So the simple situation of a two camera files and two audio files in a folder leads to a lot of additional work until I finally have my multicam in Resolve.Īfter a few days testing I really wondered: do I miss something or why is everyone praising an application that does costs so much and lacks so much in workflow usability?Ĭan you tell me more about your workflow? Johannes Using Premiere-xml does not support multicam PE exports only an older version of FCPX-xml (that resolve does not read) PE can replace the original audio with one external audio source only No way in PE to re-order wrong matches to an other track in the timeline PE often gets the cameras wrong (in my case insisting that files from the BMCC and the Pocket are from the same camera unless I place them in separate folders). Maybe I missed something obvious, but this are the things that slow me down: And while it was amazing how well it matched the audio, the overall workflow took more time than syncing by hand. The reason I ask: I tested PE a couple of weeks back. Syncing audio and video shot on 5d and Zoom using FCP and Pluraleyes from Philip Bloom on Vimeo.Sam Steti wrote:+ 1 : the PE 4 version I own is a must have for me, and saves a lot of precious time.Ĭan you tell me more about your workflow? The great Mr Philip Bloom and F-Stop Academy also posted a good intro to the original version of Pluraleyes a few months back. More detailed explanations of the new features can be found on this page. Improved multiclip handling for subclips and in/out points Support for locked tracks, to keep specific clips in place through the syncĤ. Replace audio option-great for DSLR video with external audioģ.
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#Pluraleyes 4 sync bad series
Option for a single output sequence, to better organize long series of clipsĢ.
#Pluraleyes 4 sync bad pro
The latest Beta version of Pluraleyes 1.2 aims to make the syncing process for DSLR video even easier thanks to a ‘replace audio’ option which actually creates an output sequence in Final Cut Pro that automatically replaces the ‘bad’ audio with the recorder audio without the need to go in afterwards and delete the ‘bad’ track like the previous version.įrom the Pluraleyes press release the details of the changes are:ġ. Even using a 5DmkII there are still audio quality advantages using a separate recorder although perhaps not in a breaking news environment. There are several useful audio devices from Juicedlink and Beachtek that use tones or noise to try and defeat the AGC – but the end result is in my experience not quite as good as the dual sound method, so with my 1DmkIV and 550D I still regularly use Pluraleyes. You then delete the bad audio and use the recorder track instead.Īlthough you can now get a pretty good audio recording directly into a 5DmkII, after Canon finally gave us manual audio control with firmware version 2.04, they failed to give us the same manual audio controls with the 550D, 7D and more annoyingly the flagship 1DmkIV. Simply I recorded audio on both the camera and the recorder and then use Pluraleyes to automatically align the video with the ‘bad’ camera audio track with the one from the recorder in the Final Cut Pro timeline, this is done automatically without the need for a clapperboard or timecode. This was because the Automatic Gain Control (AGC) on the camera’s mic input led to noisy and somewhat lo-fi unpredictable results – instead I used a ‘dual sound’ system. I’ve been using Pluraleyes since it first came out, to sync separately recorded audio from my Zoom H4n or Tascam DR-100 audio recorders with video from Canon DSLRs.