![]() ![]() So I understand there's some inherent complications in this, that I'm going to have to do a certain amount of more targeted PE sync.ing, as well as straight up old school manual syncing in FCP.īut anyone have any suggestions on what I can do in the field to make sync.ing life a little easier in the edit room? Right now I’m slating in the field – as much as possible, and that's difficult given the unscripted nature of what we're doing – as well as very carefully saving the WAV files in separate individual Zoom folders per the CF cards. Averaging 200-300 individual video files, 20-30 individual Zoom WAV files per shoot day, without any kind of scripting. ![]() ![]() We’re straight up doc shooting, ie shooting A LOT of footage thru out course of the day. Here's the important thing to know about my production. Probably only successfully sync.ing up about a 1/3 of the clips for any given shoot after the first PE pass (lining up all audio & video clips chronologically, and checking of the sequential/chronological and try really hard functions.) But unfortunately I'm getting VERY mixed results. So double system - Rode mic on the camera (typically Canon 5D or 7D) to record better than internal mic reference and then "master" recording on Zoom H4n (typically a lav and shotgun/boom inputs, 48 kHZ 24 bit WAV files.) Then mass sync.ing with Plural Eyes in FCP. Doing a very traditional (odd to say it) HDSLR-audio workflow. ![]()
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