#PLURALEYES 4 EXTRA PRO#
Red Giant Offload performs a checksum during media transfer from camera card to hard drive, giving filmmakers the peace of mind that footage was backed up with no loss. Now, export from PluralEyes to Premiere Pro features a color coding option for clips that don’t sync properly.
New in version 4, when drift is detected, PluralEyes will automatically fix it, then give editors the option to toggle between the drift-corrected sync and the original audio for comparison.Īn essential feature from the PluralEyes beginnings, color coded visuals show editors the progress of the sync, making it easy to make adjustments. PluralEyes can account for this and export a perfect sync with Automatic Drift Correction, announced in version 3.5. When syncing long clips, sound and video can tend to stop matching up perfectly. Your files will be sorted so that media from the same device are on the same track. Drag and drop an entire folder of media into PluralEyes, and during a sync it will automatically detect which device the media came from. Importing media is easier than ever with PluralEyes’ Smart Start feature. Giving users ease of mind, PluralEyes in Premiere Pro offers the same color coding capabilities as it does in the standalone version, so editors will know which clips, if any, require attention. Sporting a completely updated look, additional new features include:Īll the power and simplicity of syncing in PluralEyes without ever leaving Adobe Premiere Pro – just hit the sync button in the Premiere Pro Panel and PluralEyes takes care of the rest. Syncing audio and video clips in PluralEyes is now easier than ever, with flawlessly synced media just a click away thanks to under the hood enhancements that allow PluralEyes to analyze footage and automatically choose the the best possible options, so the user doesn’t have to. Red Giant also has added Smart Start capabilities, automatic drift correction, vertical track scaling, integration with Red Giant Offload, and more simplicity and automation. The standout new feature in v4.0 is the ability to sync with PluralEyes directly in Premiere Pro, without having to leave the application. I'm hoping this will prevent me from ever having to worry about syncing video and audio again.Red Giant today announced the release of Shooter Suite v13.0, which features the brand new PluralEyes v4.0, one of the (if not the) most popular and effective tools for syncing audio to multiple video streams. I just invested in Tentacle on IndieGogo, a new low-cost timecode system from some guys in Germany. These tools have their use, but there are many situations where it fails. Most of the time, once you get into a rhythm, I can sync audio manually as fast as it would be to select the clips in Premiere and wait for the automated system to do it's thing. So you end up spending the time selecting the files, waiting for it to process, only to have it fail to sync them, and you're forced to sync it manually anyways, costing you extra time. and automated systems like this don't handle different audio well. But when you have 6 lavs and a few boom mics recording different actors and positioned differently, some of them record very different audio, especially compared to any scratch audio from the camera. The problem with these automated tools is that they assume that all mics recorded relatively the same sound.
I just spent many hours syncing thousands of clips for a feature film in Premiere. So without any further ado, here are the ways in which you can sync dual-system audio in Premiere Pro, starting with the method that's built right in to the software. But for those of you who need to automatically sync audio with video, Premiere Pro actually has a built-in feature which lets you do just that. Unfortunately, at $200, PluralEyes isn't necessarily within reach for the most frugal of filmmakers.
#PLURALEYES 4 EXTRA SOFTWARE#
The more well-known option is a nifty piece of software called PluralEyes, which automatically syncs your audio in just a few clicks. This technique is fine if you only have to sync a few clips, but it can get tedious and time-consuming the more you have to sync. Traditionally, you would manually line up the clapping sound made by the slate in both the primary and scratch audio tracks, then replace the scratch track with the higher quality version. In Premiere Pro, this can be done several different ways. The only problem: syncing that audio with your video can be a major pain in the ass. Dual-system audio is by far the best way for low-budget filmmakers to maximize sound quality, especially when using a camera with poor built-in audio capabilities.