Separate Sound

When I got my first BMCC I started using ProRes mostly. For audio I was recording to a H4n which I upgraded to a DR-680. For the most part I've used PluralEyes to sync which although not completely trouble free has worked OK. Then I added a pocket to the mix. Now I shoot almost completely raw with both camera's. I'm really struggling with the audio sync since PluralEyes does not work with DNG files. Generally the first thing I do is rename each clip then sync the audio.

I have not tried Premiere for syncing so am not sure if the multiclip sync works with DNG files.

I am positive there are others of you out here who have devised a separate sound sync solution that fits easily into your workflow. I'd sure love to hear you solutions.

John Brawley, I read either here or the other site that you were working on a more complete syncing setup where your recorded a timecode track to the camera. I never did read if you completed that. Curious.

Thanks in advance for your answers to this should be simple question.

I have been using the sync feature in Premiere CC, and it seems to work better and faster than PluralEyes. However, it does not work with RAW from the Pocket, since it can't yet import compressed DNG. I don't have a Cinema, so I can't test that footage for you. Question, though: Are you running from the line out on the DR-60 to the camera to record scratch audio?

Use LTC and you will never have a problem...

Question, though: Are you running from the line out on the DR-60 to the camera to record scratch audio?

The DR-680, yes I can run from the 680 to the camera but because the 680 is a consumer level recorder on outputting -10 db as opposed to something like a sound devices which is more like +4 db, the camera sound is weak. When I bought this I thought it was going to be the answer to my problems.

Use LTC and you will never have a problem...

Spent a great deal of time looking at this the past two days. Could you elaborate please. What gear, how is it connected to the camera, what software to interpret it?

Appreciate it.

first of all: you could keep using your workflow as you did before:
the first thing you do after shooting, is render proxy clips from the DNG folders. so, just a small quicktime (prores lt / proxy is sufficient), which you use for editing. you make your syncmap with pluraleyes etc, edit the piece, do your soundmix - but then, before color correction, relink to the raw files.

another solution: get a cheap audio (smpte) timecode source (that is what the other guy probably was referring too, although Longitudinal Timecode (LTC) not necessarily is recorded as audio). The cheapest i found is a free (!) Android App called LTC Timecode Generator (lite / free - there is also a pro app), which generates a freerun Timecode and outpouts the audio timecode to the headphone out. So if you can spare one track of audio of the camera and one from sound (and you are happy if these are tethered by a cable), that could be an option.

the best / most expensive: get a professional timecode generator which basically does the same as the android app but on a different professional level.
http://www.ambient.de/en/products/ambie ... ockit.html

those got temperature compensated clocks, you can two clockits ONCE a day and they will not run out of sync. this means also: you dont need a cable anymore, synce two of them will run synced anyway. there are wireless TC transmitters for these things, and the sounddevices recorders have a compatible TC clock built in. the downside, as you might imagine, this stuff is seriously expensive. the tiny lockit only is around 900$ i think.

first of all: you could keep using your workflow as you did before:
the first thing you do after shooting, is render proxy clips from the DNG folders. so, just a small quicktime (prores lt / proxy is sufficient), which you use for editing. you make your syncmap with pluraleyes etc, edit the piece, do your soundmix - but then, before color correction, relink to the raw files.

another solution: get a cheap audio (smpte) timecode source (that is what the other guy probably was referring too, although Longitudinal Timecode (LTC) not necessarily is recorded as audio). The cheapest i found is a free (!) Android App called LTC Timecode Generator (lite / free - there is also a pro app), which generates a freerun Timecode and outpouts the audio timecode to the headphone out. So if you can spare one track of audio of the camera and one from sound (and you are happy if these are tethered by a cable), that could be an option.

the best / most expensive: get a professional timecode generator which basically does the same as the android app but on a different professional level.
http://www.ambient.de/en/products/ambie ... ockit.html

those got temperature compensated clocks, you can two clockits ONCE a day and they will not run out of sync. this means also: you dont need a cable anymore, synce two of them will run synced anyway. there are wireless TC transmitters for these things, and the sounddevices recorders have a compatible TC clock built in. the downside, as you might imagine, this stuff is seriously expensive. the tiny lockit only is around 900$ i think.

Some thoughtful suggestions which I'll be following up on. Thanks.

Spoke with the folks at Denecke yesterday who were very helpful. One of my calls today will be to Sound Devices.

With all the complaints regarding sound with the BM Camera's perhaps this might be a good time to come up with a solution that involves industry pros and does not cost more than the camera.

first of all: you could keep using your workflow as you did before:
the first thing you do after shooting, is render proxy clips from the DNG folders. so, just a small quicktime (prores lt / proxy is sufficient), which you use for editing. you make your syncmap with pluraleyes etc, edit the piece, do your soundmix - but then, before color correction, relink to the raw files.

@tilllt

would you please post the details to what Pluraleyes settings you use within PP to make the syncmap? also, the process you folllow to relink to the raw files?

many thanks

hey dave,

this mentions a Resolve - Premiere - Resolve workflow including proxy generation and relinking to raw files
viewtopic.php?f=3&t=15833

I never used Pluraleyes as a plugin but the standalone version exporting XML's - without any tweaking of the settings. I was told that for difficult clips it helps to order things sequentially before syncing them but havent tried it.