#PLURALEYES 4 NO TIME DRIFT PRO#

That means you have to tell itР’В which clip goes with which audio, and then press the sync command for every clip.

#PLURALEYES 4 NO TIME DRIFT PRO#

But the complexity, not to mention the cost of cameras and recorders that support this method, puts this solution beyond the reach of many smaller filmmakers.Р”В«ut, if youРІР‚в„ўre a small filmmaker, why shell out the $199 forР’В PluralEyes to sync audio and video? IsnРІР‚в„ўt this capability built into Final Cut Pro X? Yes, but FCPXР’В only syncs one clip at a time. There are otherР’В ways to keep your audio and video in sync, such asР’В using genlockР’В to match the timecode between recorder and camera. And you wouldnРІР‚в„ўt want to limit your shot list to 6 inches from your talent, would you?

Ninety percent of success in recording dialog depends on getting the mic close. Many beginning filmmakers think they can cheat and just stick a shotgun mic on top of their camera, and call it good. Someone whose job it is to make your production sound awesome. This is sound recorded the right way: by aР’В sound recordist. With PluralEyes, an application included inР’В RedР’В GiantРІР‚в„ўs Shooter Suite,Р’В all you have to do is record reference audio on your camera, andР’В let software do the rest.Р”В«ut before I get too far along, let me be clear that what IРІР‚в„ўm talking about here is dual-system sound. There may still be good reasons for slating your takes, but syncing footageР’В is no longer one of them. Then, editors had to meticulouslyР’В nudgeР’В the two together before they could go to work on more creative tasks. Back in the old days, filmmakers hadР’В to clap wooden sticks together to match sound and picture.

Pluraleyes 4 no time drift