I just roughly lined it up based on waveform. Most cameras cut 10-11 times, one stops after about 5 cuts but it ends early. Hopefully that image works but that's what my timeline is looking like.
PLURALEYES 4 CRASHES CODE
Then I guess I'd go through and do it the auxiliary time code way once it's all lined up. Again it'd be time consuming/human error prone, but it's an option. I think the patched audio track I made is fairly accurate so I was thinking I could try to line all the cameras up to that.
PLURALEYES 4 CRASHES ARCHIVE
We're an archive documentary and the sheer amount of footage is pretty crazy. I could potentially get an audio recording, or it's possible the fully edited piece exists in our media, although it wouldn't be raw sound. It's a band on a televised stage with an audienve, the other cameras generally rove around. There are two cameras that feel more locked off, one appears to be on a jib and is a Medium to Wide shot most of the time and the other is a fairly locked off close up. Since the tails of these clips are uneven I don't love the way the cameras will cut out in that setup, but I could play with it more to break up the chunks to end all around the same point (I'm just a little limited on time so it may just have to boil down to the rough solution). Yes, I think I can break it down into 4 or 5 more manageable chunks. Once you achieve your 5-cam syncmap sequence, by ALL means, check out. Many of us here have been in your shoes: stay at it, it seems you are doing lots of smart things. Just curious: how would you describe each of the 5 camera positions, their exact # of on/off cuts and the kind of music/venue. You will have every opportunity to tweak sync during the real edit. in other words, don't drive yourself crazy. Tidbit: sometimes it doesnt matter if your shot is in sync. but only using a short section of sound from your existing sync map. Try Avid Waveform analysis on on/off parts of a single 3rd camera clip. Perhaps you can export audio Wavs in shorter, discreet chunks defined by common audio rather than entire clips. Perhaps you work hard to get 2 out of 5 cameras in sync. In some cases, lighting cues and flashes from cameras helps find sync.įor me its about getting SOMETHING in sync and working outwards from that to sync the harder cameras (the ones with the most on/off cuts) or least clues. were theyĪll receiving the same feed from a mixer? Without that, it seems you have already tried patching together a complete audio track made from the 5 cameras. is there any chance you can track down an audio recording of this old event? You mention a “glimpse of timecode on set”.
If it fails at one hour + (which was my experience with just 2-cams with identical sound ) and above, is there a way to break the job into smaller chunks? Maybe you can “divide and conquer”.Īlong those lines, I would ask if among the 5, are there 2 cameras that are most easily “mapped”? Perhaps a lockdown and another “less stop/start-y” wide shot? This is footage from 1999 and i'm a newb. Every once in a while I get a glimpse of a timecode clock on set, but not on every camera nor for every cut and even if I did, i'm not sure exactly what to do with them. I'm looking at 5 cameras, no cam timecode, no external audio (although each clip has audio), no slate, and every camera cuts multiple times. looking at entangle and knowing this office won't pay $20/month for it (but I could beg if someone can confirm this is a good solution). downloading resolve thinking there might be a way to sync the cips in there and my brain melting. using premiere to create a faux "external" audio clip by patching the audio and synchronizing in the premiere timeline, then multigrouping everything with it in Avid. Maybe because there is no consistent external audio track.
This method works in chunks for the most part, but I can't seem to get it to analyze over an hour of footage that way. I was hoping that with the new "analyze by waveform" addition (this office just upgraded from MC6.5) that there would be a way to skip the pluraleyes and copying auxiliary timecodes step and just multigroup by waveform. However, Pluraleyes 3.5 keeps crashing every time I try to use it and I fear we have upgraded beyond our ability to use it. The way I learned to multigroup is the sync map > AAF > pluraleyes and back situation. Forgive me if I'm missng something obvious here: we're running Avid 2018.5 and I'm attempting to multigroup some archive concert footage and we've recently upgraded to High sierra.
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