Thanks. It seems getting something like a Juicedlink preamp would be all around easier..
This is a must-have. Learn to use it, and to fill out a proper sound report (file management is just as important).
Find the frame of video where the sticks come together, and then find the snap in the waveform of the sound file, and match them in the timeline. This has worked since the first "talkies" nearly 100 years ago.
If the manual matching process is too daunting for you, there are programs like PluralEyes that will automate the process. If you're using FCPX, the automated matching capability is built-in.
I hear you, but during a lot of my short films, I can't waste any time at all worrying about a slate. I'm usually on a really tight time restraint. I might just go with something that records the audio directly into my Canon 60D."Easy" syncing starts during production. It's called discipline. You have to slate every single take verbally and visually - "Scene 15 Delta, Take Four (4)... MARK!!!!" and then smack the sticks together.
You must also keep accurate, detailed video logs and audio logs:
00:39:14.06 - Sc_15_D_tk4 - 00:43:22.19 (The PSM and AC can add comments afterwards.)
Most modern digital audio recorders will automatically label for you and have embedded metadata. (Do cameras do the same?)
Once in your NLE you should not have much difficulty lining it all up, especially since you will have the camera audio as a reference sync. Softwares like PluralEyes can somewhat automate the process.
What do you mean by that?Easier sure.
If you want to do amateur stuff, you'll be mostly right.
Thanks. It seems getting something like a Juicedlink preamp would be all around easier..
I hear you, but during a lot of my short films, I can't waste any time at all worrying about a slate. I'm usually on a really tight time restraint. I might just go with something that records the audio directly into my Canon 60D.
What do you mean by that?
I hear you, but during a lot of my short films, I can't waste any time at all worrying about a slate. I'm usually on a really tight time restraint. I might just go with something that records the audio directly into my Canon 60D.
I can't waste any time at all worrying about a slate.
I hear ya. I tried the slate at first, but it just took too much time...
The slate is used for film because film has no sound.
Depending on how far away the clap is, physically, from the camera a frame or two might actually make sense given the difference in speeds of light and sound. But if it's ALWAYS off, even if immediately in front of the camera, like 3 feet or something, yeah, that's not right.
And if your camera records audio, no matter how bad the quality, use it. Then it's really easy to match up your external audio recording in your editing software. Once the external is lined up, mute or delete the camera audio.