Audio Syncing in Resolve 11 ? also, multicam editing ?

Does anyone know if there is a way to sync different audio clips in resolve 11 ?

I know you can do time code syncing, but what about something along the lines of what PluralEyes or Premiere pro can do .

Also, Will there be multicam editing in Resolve in the future?

I thought ver. 11 already did multi-camera editing. Or so the literature says. I haven't fooled with the edit tab yet in the new version.

Does anyone know if there is a way to sync different audio clips in resolve 11 ?

I know you can do time code syncing, but what about something along the lines of what PluralEyes or Premiere pro can do .

If they did this, I would probably stop using the otherwise vastly inferior Premiere entirely. As it is though, Resolve isn't even smart enough to IMPORT the audio I've recorded... and that was before I upgraded to a higher end recorder, and I'm no longer limited to 96KHz, let alone the pathetic 48KHz that Resolve is limited to.

I would hardly call 48khz pathetic , but i agree that Resolve 11 has some serious compatibility issues when it comes to different file formats.

It doesn't even support avi or mpg import well enough.

I cancelled my subscription to the cloud today to see if I can get by on just Resolve. If they added these features I think I'd definitely be able to commit to it fully.

If they did this, I would probably stop using the otherwise vastly inferior Premiere entirely. As it is though, Resolve isn't even smart enough to IMPORT the audio I've recorded... and that was before I upgraded to a higher end recorder, and I'm no longer limited to 96KHz, let alone the pathetic 48KHz that Resolve is limited to.

I believe it's very unwise to record normal location sound at anything other than 48kHz/24-bit. Doing anything else goes way beyond normal workflow and will cost you a lot of time and money. Talk to any major re-recording studio and they'll tell you, even major $200 million films still do all their location sound work at 48kHz. You have to wonder why; my guess is because it's a standard, it works, it's a known method without any compromises, and will work even when brought to a dozen different facilities.

I don't have a problem with music-only productions using high-res audio, and you can make a case that this standard does work under some conditions. For normal location dialogue sound... no.

Good discussion by a dozen major sound engineers on the topic at this link:

http://jwsoundgroup.net/index.php?/topi ... -and-cons/

Anything above 48khz is beyond the average person's hearing range, and not perceptible to most human beings , as stated by the nyquist theorem

The "transients", the way different waves interact together like in localisation, are very sensitive to the highest frequency. If you use a real space sound design, like ambisonic (http://en.wikipedia.org/wiki/Ambisonics), not like 5.1 surround, the high frequency are very important to distinguish between different location, using the subtil phase difference between different path of sound.
Jacques Hoepffner

Anything above 48khz is beyond the average person's hearing range, and not perceptible to most human beings , as stated by the nyquist theorem

Uh... this is not what the Nyquist Theorem states.

Lets start with the range of normal human hearing, which is generally conceded to start rolling off at about 18KHz, and for most people goes off the cliff at about 20KHz. That is related to the distribution of sensory hairs inside the inner ear (cochlea).

The Nyquist Theorem is a principle of Sampling Theory, which states, in simple terms, that any wavetrain can be reconstructed if it is sampled at a minimum rate of 2x the frequency of the highest resident harmonic.

Harmonic content stems from Fourier Transform - the sampling strategy relies on a summed-wave-construction model based on the mathematical premise that any complex waveform is a summation of a fundamental single-frequency sine wave and the odd and even harmonics that best-fits the original. For example, "tone" at 1 KHz is a pure single-frequency sine wave that would need only to be sampled at 2KHz in order to satisfy Nyquist. However, a square wave at 1KHz contains odd harmonics largely significant out to the fifth, but if you wanted to be exhaustive, there are a few per cent at the 7th. In practice, this means that the Nyquist threshold for a 1 KHz square wave is actually about 14KHz, for an exceptional degree of precision.

For engineering purposes, the rule of thumb is to go for 2x 20KHz plus something, and the original music/CD sampling rate of 44.1 was born. It is obviously still in use, but one has to realize that it is limited in its bandwidth, and therefore, low-pass filtering must be applied to any input waveform sampled at that rate -- the defect otherwise introduced is called "aliasing". This also applies to sampling video, or any continuous wavetrain.

48KHz has been the standard sampling frequency for video production since CCIR601 and serial digital interface, because it works with all frame rates.

96KHz is overkill for stereo, but has some advantages in HD. Bit depth is another topic.

JP Owens, B.Sc.E.E

That was my point.

It's obvious that there are frequencies that resonate even higher than the base tone, but it's not something our ears would pick up.

While most kids and women have broader ranges in hearing, it's still hard for most people to discernibly notice any detail above 22.5khz

Also, the majority of systems available to most consumers today do not have the dynamic range suitable to playback anything higher anyway.

Bitdepth, on the other hand, is a far for important issue.

To get back on topic though, is there any word from the developers or mods as to whether or not this might be a possibility in the official release of 11 ?

[Peter Chamberlain]

Audio syncing via timecode is in v10. Nothing new in 11. No multicam in these release.

Yea, I thought it would be too good to be true

I knew about the timecode option, but very rarely do i every actually use time-code syncing in my workflow.

It's so easy to, for example, pop in multiple different performances from a music video into the timeline and use Plural Eyes to sync the reference audio (of the music playing through a boombox on set).

Or sync multiple dslr's and various audio recorders together flawlessly.


but , oh well.... one can dream

It's so easy to, for example, pop in multiple different performances from a music video into the timeline and use Plural Eyes to sync the reference audio (of the music playing through a boombox on set).

Or sync multiple dslr's and various audio recorders together flawlessly.

I wouldn't say flawlessly. Pluraleyes has had a devil of a time with my project. Gets it about 90% and that's the best it can do.

Generally it works perfectly for me

Often even the built in sync with premiere works well