FCP and Time Code question

Stephen Pruitt

Stephen Pruitt

Member
Hi all. . .

This is probably the stupid question of 2007 (which is almost over, so that's saying a lot!), but here goes:

Currently, I have using an HVX-200 and recording my audio to the HVX. Since the audio and video are perfectly matched by the HVX, there are no issues to deal with on that score.

Now, however, I'm going to be moving over the RED camera, which does NOT have its audio enabled as of yet. I currently have a Sound Devices 442 field mixer and am thinking of buying a Sound Devices 744T recorder with Time Code capability.

Here's my question. Let's say that I shoot footage on the RED and then import it into FCP (I have Final Cut Studio 2.0). So far, so good. Now let's say I had recorded the audio ONLY on the 744T. I import those audio tracks.

(And now the real question): Will Final Cut Pro AUTOMATICALLY match the time coded video with the time coded audio? Or do I have to line everything up myself manually? (And what a nightmare that would be!) This is especially important to me, since we'll be using up to three RED cameras for my feature this summer.

Anyway, that's the question: Does FCP automatically line things up when imported? Or do I have to do it manually? And, if it DOES do it automatically, what is the procedure to make it do so?

Thanks so much.

Stephen
 
Yes, you can have Final Cut Pro sync the audio to the video if they have matching timecode. You highlight both clips, select Modify>Merge Clips and a window will come up asking how you want to synchronize them. Select timecode and PRESTO, new clip with audio!
 
Oh, NO! You mean I have to do it clip-by-clip??? Rather than just download a boatload of audio and video clips and say, "Sick 'em boy!"????

PLEASE tell me it will do some sort of a batch process. . .

Sad Stephen
 
You should be glad it's as easy as this. Before you had to line up the clapper and mark your in points.
 
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Nope, there is no automatic function for this. Had to do a whole feature film last month this way, clip by clip. :) Patience Jago.
 
Oh, my GOD! That's a LOT of shots!

I hope they turn on the audio in my RED soon. . . I don't think I can do that clip by clip. That's thousands of clips!

Stephen
 
You digital pansies. You obviously never had to synchronize film in a moviola before. You had to line it up practically everytime you made an edit.
 
Dude...you have GOT to be kidding me? You want to capture the audio, capture the video and FCP "just make it work?" Do you turn on the RED camera, point it at a room and just HOPE that the RED camera will light the room properly? No.

Production is hard work. POST is hard work. And with the first version of RED coming out, you are going to have to use a FILM WORKFLOW...one that still exists because they shoot FILM with separate audio. And since you are getting about the same quality as film, and will have to light the set like you do film...then the film workflow shouldn't be TOO difficult.

In film, they record audio and slate each shot. Visually you see the slate close, and you hear it audibly. Your ASSISTANT EDITOR (see why they have these?) would match the audible slate with the picture and sync them. They did this shot by shot.

Yes, this is tedious. Sorry, you are going to have to deal. You aren't working with VIDEO anymore...you are now working with FILM QUALITY HD.

Sorry, having served as an assistant editor for 5 years, I have very little sympathy for someone who complains that they'd have to do this...CLIP BY CLIP.
 
What Stephen is asking for is not unreasonable IMHO, and could be done with some sort of batch scripting in something like FCP, or a 3rd party utility could be written for it. I suspect someone will implement something like that in the not too distant future. In the meantime at least FCP will do the syncing for you, perfectly, in an instant, even if it's still clip by clip. That feature alone will save a *lot* of time.
 
I actually agree with Ted that a program for syncing audio would be a good idea. Still, I think those who have only lived in the digital filmmaking world have no idea how tedious and physical it used to be to do a lot of this work. I learned just when non-linear was becoming viable but before it was being taught in school, so I was introduced to editing on the most medieval technology in existence, a 4 gang synchronizer and upright moviola. And not 35mm either, 16mm, which was more fragile and too easily chewed up by the machinery. You kids today don't know how good you have it.
 
On my first short with a DVX, I shot external sound on a Marantz solid state recorder. It was simply a matter of setting the in points using the slate and then doing the Merge Clip thing. It really was no big deal and felt very organic. I wouldn't do it if I didn't have to, but wouldn't hesitate if I did need to.
 
Yeah, well, I can certainly see WHY it needs to be done, but in this age of great technological advancement, it just made sense to me that someone would have come up with a program that did the "sick 'em boy" thing by now. But I guess not.

Alas. . .

But, just for the record, it's not like I'm immune from hard work. . . although of a different sort. When I was working on my dissertation for my Ph.D. back in 1986/87 (in economics and finance, by the way), I had to collect thousands upon thousands of data points from old microfilms of The Wall Street Journal. And, since I had entered them all by hand, I decided to do all of the statistical analysis by hand, as well. It took me forever, but it worked. Nowadays, now that I am older and wiser, I restrict my scholarly research to questions that can be answered with computerized data sources and really fast computer statistical packages!

But if it is clip-by-clip I must do, so be it. BUT, I'd pay a lot of money for a program that batch synched all the clips!

Stephen
 
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