Dual System Sound Workflow?

[tirapell]

This covers many board sections but I thought the audio sync timing is what I'm really trying to figure out, so I'm posting here. Just trying to figure out an efficient workflow with the tools I have:

I'm using a GH2 for video and using an SD702 to capture separate audio (shotgun on a boom). Then I'm using DualEyes to sync SD702 audio to the GH2 in-camera audio. I know, I should slate. But this is run & gun doc stuff using separate sound whenever possible and believe me, it won't always be possible. 'Slating' is not really an option. If I couldn't use DualEyes, it'd be back to on-board audio (uggghhhhh).

The problem is, DualEyes won't read the GH2 .mts files (H.264) without a .mov wrapper it seems. If you copy the .mts files from the camera to the hard drive, they are not recognized by FCP or QuickTime. So either I have to import to FCP X first using 'Capture from Camera' to get the necessary .mov wrapper added or I have to use ClipWrap prior to importing. It's not an FCP X issue either because I could use FCP 7 and still have the delimma of which to do first -- import or sync.

DualEyes recommends Transcode to Sync to Edit. I think the most efficient and effective workflow is probably something contrary like (Clip)Wrap to Sync to Transcode to Edit.

Once the files have a .mov wrapper, DualEyes is nails on the default settings for what I'm using it for -- one camera and one separate audio source. Wouldn't you think syncing the audio and video prior to import is likely the first priority? Rather than importing, transcoding, and then trying to go back and sync?

Any advice or experience is appreciated. This is a rather large project for me and getting the workflow right prior to starting is important.

 

[Alex H.]

This is more of a FCP/FCPX question, but here are a couple of thoughts...

First, you should always be transcoding your footage prior to importing/editing. Though FCP7 and earlier versions have a Log & Transfer feature that will do that (and I assume FCPX's "Capture from Camera" is similar), it's often more effective and efficient to use something like MPEG StreamClip (freeware) to convert to an editing codec before even launching FCP. H.264 is not an editing codec, even though several NLEs (including the new FCPX) can edit it natively. That's fine for small, quick projects, but for anything with serious post work you need to be working in ProRes. At the very least, DVCPRO HD is a viable codec.

Second, slating doesn't have to be complex. Simple, dry-erase versions (dumb slates) are inexpensive, and there are some very compact versions out there. If you have an iPhone or iPad, there's an app for that (look at DSLR Slate or Movie Slate). Especially if you have an iPhone, you always have a slate with you. And, if nothing else, you have your hands to give a quick sync mark. A quick clap in front of the camera with video and audio rolling is all it takes, and you can have anyone standing in front of the camera do this for you.

 

[tirapell]

Thank you!

Thank you!

This is more of a FCP/FCPX question, but here are a couple of thoughts...

First, you should always be transcoding your footage prior to importing/editing. Though FCP7 and earlier versions have a Log & Transfer feature that will do that (and I assume FCPX's "Capture from Camera" is similar), it's often more effective and efficient to use something like MPEG StreamClip (freeware) to convert to an editing codec before even launching FCP. H.264 is not an editing codec, even though several NLEs (including the new FCPX) can edit it natively. That's fine for small, quick projects, but for anything with serious post work you need to be working in ProRes. At the very least, DVCPRO HD is a viable codec.

Second, slating doesn't have to be complex. Simple, dry-erase versions (dumb slates) are inexpensive, and there are some very compact versions out there. If you have an iPhone or iPad, there's an app for that (look at DSLR Slate or Movie Slate). Especially if you have an iPhone, you always have a slate with you. And, if nothing else, you have your hands to give a quick sync mark. A quick clap in front of the camera with video and audio rolling is all it takes, and you can have anyone standing in front of the camera do this for you.

Thanks Alex. ClipWrap (since I already have it) will transcode to all forms of ProRes (Proxy, LT, 422, HQ). Probably better off transcoding with ClipWrap rather than just 'wrapping' in .mov huh? Is one transcoding software necessarily better than another? I've used MPEG StreamClip as well.

I do have an iPhone. Excellent suggestion! I'll look at the apps and see if I can work that in. Obviously, the sound from the phone (clapper) must be loud enough to sync to?

Seriously, thanks for your help!

 

[Alex H.]

Probably better off transcoding with ClipWrap rather than just 'wrapping' in .mov huh? Is one transcoding software necessarily better than another? I've used MPEG StreamClip as well.

Yes, you should transcode. Simply adding a .mov wrapper doesn't change the data stream, only how the computer opens the file. It's still h.264 under the hood. As for ClipWrap vs. StreamClip, I guess it's really up to personal preference.

I do have an iPhone. Excellent suggestion! I'll look at the apps and see if I can work that in. Obviously, the sound from the phone (clapper) must be loud enough to sync to?

If you have a boom op, the mic just needs to be within a couple feet. The sync beep is fairly loud with the iPhone volume all the way up. Not ear-shattering, but loud enough to be effective.