Syncing Audio
- Thread starter bloxorz98
- Start date
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.
"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.
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.
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.
Easier doesn not equate better. Which do you value more, quality or convenience? They most often don't cohabitate very well.
If you're shooting run-and-gun documentary, that would be a sensible excuse (sort of). For short films, thre should be more control over schedule. After all, you'll get out of it only what you put into it.
Perhaps the solution, then, is to start with something like the DR-60D from TASCAM that provides an external recorder with a reference feed straight into the camera. The slate is still going to be your best friend in that situation, though.
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Meaning: Most filmmakers would prefer just to use the camera mic than what you're looking at. At least when you get it to post, you're not given a surprise in post with bad audio.
Most cameras record audio poorly.
If you're looking at doing a birthday party or the occasional low quality youtube video, then what you've chosen will be fine. If you need decent production value for your projects, you're going to waste your money.
I hear ya. I tried the slate at first, but it just took too much time, when you have to get a scene that take a ideally 8 hours to shoot in 2 hours, or something like that. What I do is I clap my hands after hitting record on the field recorder and camera. The slate is used for film because film has no sound. But a lot of digital cameras and DSLRs have a soundtrack, so you will hear the clap on both the camera audio track, and the audio track of a seperate field recorder.
This can help you sync up sound in post, cause you already have an audio track in sync with the video from the camera. So you don't need the slate if you don't have time for it. Just match up the audio by listening to see if the track is the same take, and line it up in post.
A slate is not a waste of time at all. It shouldn't take much longer at all.
I recommend you get a slate, I really do. If not, you could always clap in front of the camera once you start rolling, then sync that up.
Let the camera's onboard mic record crappy reference audio. Also record good audio with an external recorder and quality mics.
As for syncing in post.. the easiest solution would be something like PluralEyes.
As for syncing in post.. the easiest solution would be something like PluralEyes.
This is the seasoned pro from whom you should be taking advice. Seriously, read back through his post history. It's entertaining and VERY informative.
"It just took too much time" is a pathetic cop-out. And really, I have used my hands before in a pinch, which is fine as long as they're in front of the camera, but it takes just as much time as using a proper slate and clapper.
Can't invest as much time in writing out each scene and take number? I keep a selection of numbers and letters on the back of my slate, written on console tape, so it's really easy to swap out scene and take.
Yes and no. It started as a way to sync sound to film in the beginning days of the talkies. It has stayed in use to this day because it is the single most accurate reference point available between sound and film/video. Even in high-end digital productions where both camera and sound recorder are jammed to a master clock with TC reference, the slate is still used today because it still works.
For DSLR production with Canon cameras, the slate is especially important over using camera audio and PluralEyes because Canon DSLRs tend to record internal audio a couple of frames off-sync from the video. When I take T2i footage into FCP and then scrub frame-by-frame, the sticks a always a frame or two off from the clap. I have experienced this on other models of Canon DSLR as well.
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.
Sorry but the slate isn't just useful for syncing audio either. It takes a few seconds per shot on location and saves me minutes per shot in post.
With the slate in the frame when the camera starts I can see from the very first frame Scene, Take, Shot etc... so when I bring the footage in, I can log the footage and/or rename without having to play the footage to figure it out.
I can then look back at my shooting log and see which takes are garbage or during editing if I am looking for a specific line/angle/what ever I can refer back to the script log to find out the info.
Also with software like FCPX, Premiere, Plural Eyes, etc if I do have the clapper, it's right click sync away from bringing in location audio when I receive those files later.
Plus it looks cool on set
It kind of sets the mood of the crew. Especially low/no budget crew. They get excited seeing that slate come out... A slate is what everyone pictures in their mind when they think of filming on a set. And now THEY are part of a real crew.
It really does provide a multitude of benefits and I recommend you try and incorporate it. Heck, I had my 7 year old daughter slating for us at times and she did a great job at it and it really made her feel like part of the team.
Good luck!
With the slate in the frame when the camera starts I can see from the very first frame Scene, Take, Shot etc... so when I bring the footage in, I can log the footage and/or rename without having to play the footage to figure it out.
I can then look back at my shooting log and see which takes are garbage or during editing if I am looking for a specific line/angle/what ever I can refer back to the script log to find out the info.
Also with software like FCPX, Premiere, Plural Eyes, etc if I do have the clapper, it's right click sync away from bringing in location audio when I receive those files later.
Plus it looks cool on set
It kind of sets the mood of the crew. Especially low/no budget crew. They get excited seeing that slate come out... A slate is what everyone pictures in their mind when they think of filming on a set. And now THEY are part of a real crew. It really does provide a multitude of benefits and I recommend you try and incorporate it. Heck, I had my 7 year old daughter slating for us at times and she did a great job at it and it really made her feel like part of the team.
Good luck!
At 1,126 ft/sec, the source would have to be about 37 feet away to have a discernable delay of 1 frame.
I'm talking about seated interviews with the camera mic in close proximity.
