Pluraleyes .. annoying ?

M

morgan_moore

Major Contributor
The scenario

Do some interviews, sound recorder rolling, maybe have to cut vision during the interviews due to full card 4gb limit flat battery or whatever - sound rolls through that loss of vision

Shoot some broll/cutaways (no sound recorder used)

Edit the piece using the edited interviews as the main soundtrack with vision constructed from synched interview vision plus Broll and cutaways added to create interest or cover loss of vision during card changes etc


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SO I shoot a pile of stuff - sound recorder and 7d, 5d footage some with recorder going some not

plonk them all on different tracks in FCP and press go

80% of the footy gets the right sound but the PE makes further sequences, like unsysnched

meaning my footy is placed across many sequences

How can I untangle that ?

Am I being dumb ?

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Dualeyes seems to get sound and trim it to your vision clips

again dumb design (IMO)


My method is to lay the soundtrack first and then build the shots over them

For example one may do an interview and cut the camera due to the 4gb limit and keep rolling sound - the cut in vision is then covered with BRoll footage

What I would like is a timeline that had..

all the sound with vision synched where possible followed but unsynched clips (broll) left on on one timeline ready to chop lay over breaks in vision etc

I dont even do offboard sound on some of my BRoll footy external GVs, cutaways etc

Whos getting this wrong me or PE ??

S
 
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Sounds like a pain, thats why im hoping to wait for the AGC defeat firmware for the 7D rather than get this.

Anyone have any tips for him? Im curious to
 
pluraleyes

pluraleyes

sam
as far as the different sequences, the new beta takes care of that

its still far from perfect since it will not allways sync everything

hope this helps
 
Before !

My method of editing (Im untrained from a stills background)

is just to drag all of the clips onto the timeline and chop em about a bit

What I want to do is drag all of my clips onto the time line synch the the ones that can and be left with my Broll/unsynched on the same timeline as part of the same sequence

I would then edit

For a corporate (and this is what this is) I would build the sound first and use either the talkiing head or some Broll of what they are talking about

Basically mr boring waffles about his $1m widget maker and I have either his head talking or a shot of the widget maker

normal TV in other words ?

S
 
5Dmaestro said:
sam
as far as the different sequences, the new beta takes care of that

its still far from perfect since it will not allways sync everything

hope this helps
Click to expand...

Are you part of the PE team ??

You say it will not always synch everything - you are not getting me I dont think - much of my Broll has NOTHING to synch to, because I only use dual sound for the talking heads the cams pickup adequate ambient for the BRoll

I want the synched, the couldnt synch and nothing to synch to all in one sequence on one timeline

I also dont want my sound that has no vision to be cropped (as per dual eyes) because I can cover that sound that has no vision with pretty pictures of something else

S
 
any updates on if I am handling this software wrong or other workflow suggestions for handling a mix of to be synched and no synch clips ?/

SMM
 
Well, the obvious way to go about this (so maybe this is what you are doing, it isn't quite clear to me) is put the source clips that need syncing, along with the separate audio files (and only those two types of clips) into a timeline, sync it, then make them subclips that you can then in turn pull into the mixed-type timeline.
 
I personally am finding that pluraleyes is frequently not syncing things properly and that while it might match the right clip to audio, the two are often out of sync anyhow.
 
yoclay said:
I personally am finding that pluraleyes is frequently not syncing things properly and that while it might match the right clip to audio, the two are often out of sync anyhow.
Click to expand...

I think that is why it costs $149 and not $2000. I own it and it does require you to think ahead in terms of what media should be in the timeline. The sync is off about half the time for me but never more then a couple frames and usually uniformly for the entire track.

I read and reread the parent post and I still can not understand the issue they are having. If I understand correctly then my fix would be to not include that media in the timeline until after sync, but that can't be the issue it would be to simple.

It does seems to work best if you only include media that can be synched, meaning sort your b-roll for insertion later, and try not have audio breaks. Even though it creates new sequences my testing has seen less errors when you have one long audio that runs throughout the entire length.
 
kgimedia said:
I read and reread the parent post and I still can not understand the issue they are having. If I understand correctly then my fix would be to not include that media in the timeline until after sync, but that can't be the issue it would be to simple..
Click to expand...

Yes that is the situation mixing 'no sound' media and media with sound clips to synch

Adding the 'no sound' stuff afterwards is indeed the solution

In reality, shooting and editing really fast, that is not so easy

When shooting 'rng' how does one note that the clip does or doesnt have sound ?

You hands are on the rig so I cant clapboard it myself and that doesnt work in a 'live' situation

That means wading through the clips in some manner looking for ones that may have sound

Obvoiusly if you do three long takes of your talking heads thats simple to find the clips, in other situations not so easy

Im talking editing to meet hourly or daily (news) or next morning deadlines, not logged and slated narrative

In my early stills days I would file images of football etc before the game was over - and that was using film :)

S
 
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morgan_moore said:
In my early stills days I would file images of football etc before the game was over - and that was using film :)

S
Click to expand...

Did you have a mobile darkroom? Plus with the Football played over there it would be easy cause the game takes so long and never ends at 90min. The hard part is not falling asleep on the job.

Ok back to your issue. My quick fix is to use a B-roll memory card and an interview memory card. I would be a literal B-roll like when the tape was in a different desk for the cut aways. I would ProRes the interview, then ProRes the B-roll while I start editing. When my rough cut is done then I would insert the other footage. Completely separate until the end. If you are not a one man band you could have someone trimming the B-roll as you edit the talking heads.
 
I had a microwave in the back of the motor chemicals to temperature in 2 mins and a brew too, dark bag, hairdryer and 1400 Bits per second nokia phone and nikon coolscan one on a Black and White ballmouse mac laptop - i bet its tethered and WiFi now - too easy - a couple of years manual focussing sport seems to served my well on these DSLR vid cams though !

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Seperate cards - that is very very good thinking

I was onto that when shooting (some) 60p - because I was also having trouble quickly seperating that out from the 25p

Great workflow too, have the B-Roll ProRessing while chopping up the waffle

Television - radio with pictures

Great post thanks :)

S
 
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Thanks! I try really hard to helps other on this board with simple stuff (not that this thread is simple or everyday). My theory is if I can help with the Video 101 stuff then Barry Green and all the heavy weights can help answer the high end, new tech questions.

The only reason I am posting this is because I believe this is the first time I have been thanked for helping. Some of the newbies in this industry just don't understand that years ago the only way to learn these things was to spend years as a PA or low pay employee. There was no website that had thousands of users and previous posts about their issue. These same people get pissy when their question is not answered within an hour or two.

Up till 10 years ago you had 2 options pay someone else or trial and error.
 
Appreciated - ive come from that old school world albeit a mildly different industry

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Still not perfect using hardware to deal with a software 'issue'

Are PE listening ?

S
 
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Well all I can say is last month I downloaded the trial and used it on 46 clips, all of which had 1) a separate stereo track 2) a boom track and 3,4) two lavalier tracks. Threw it all into Sony Vegas and it synced everything perfectly. Note that all tracks had a slate so I would assume that helped. The only odd behavior is a few clips it overlapped them on the timeline, but I simply moved them over and everything was great. So that's pretty amazing if you ask me.
 
Im not arguing with the fundamental efficacy of the software - which is good - amazing - just its implications in terms of rapid workflow

S
 
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