EASY AUDIO SYNC SOLUTION

[aiden1258]

Here's an easily added (I'm assuming) solution, that if correctly practiced in the field, will make for easy audio syncing in post.

Ok so there is already an option for the camera to "beep" when it starts recording. If we were to add a feature where instead of just beeping, it would beep a unique "sound code" (a few beeps at various frequencies?) for each take, and save that code in the metadata, a piece of software could be developed that would read the beeps in the audio file, and match it up to the in-point of each video file. It could then either export converted 422/444 files from the MLV file (all in one program??) with the audio synced already, or could export an XML (like PluralEyes).

For this to work, whenever you start a new take in the field, the boom operator (or whoever's doing audio) would have to point the mic at the camera temporarily while the cam operator hits record, so the beep is picked up.

That's pretty much it!
Let me know what you think!

[Danne]

Mlv is already recording audio with raw

[aiden1258]

Yes, but in camera audio recording isn't always the easiest option for syncing. If it's windy, there's no hope. If the camera made the sync sound, and the production mic was able to read it, automatic syncing would be much more reliable.

[mageye]

Surely if it was that windy how would it pick anything up? (apart from lots of wind) and why would you want to record and synchronise external sound in such windy conditions?

It all sounds a bit extreme to me. I wonder how film makers of old coped with just having a traditional slate?

[aiden1258]

With a boom mic, wind noise is easily avoided with a simple dead-cat or blimp. It's much more difficult to avoid this with the internal mic. Also - if the boom and camera are far enough away from each other, they won't pick up the same sound, and syncing won't work. With this solution, as long as the boom picks up the first "beeps", they can then go wherever they want.

[djfremen]

It all sounds a bit extreme to me. I wonder how film makers of old coped with just having a traditional slate?

+1

My first feature was synced by slate. It just works. Plural eyes is lazy and not 100% (FCPX for that matter too).

This solution is only "easy" if you can develop with the coding.

[mageye]

I was waiting patiently for the MLV audio support and I really do commend the work that has made this happen (big thanks to g3gg0 on that one ). Since before ML RAW I was using a clapper board so that I could get a decent sound recording with a Zoom H2 and the 5DMKII.

Now that I have the MLV recording I will be using my sound recorder less. But when I really want good sound and more control of the sound production I will be using slate again.

With the stereo sound recorded onto the camera and the 4 channels of sound on the H2 I can record a nice 6 channels of audio. I have always found that manual synchronisation works very well.

Slate is the tried and tested way and guess what ... It works! 

[hjfilmspeed]

If you have someone to slate for you it great. For smaller productions that may not happen. Slate is great if your slate guy keeps accurate account of takes. If he messes up then your lost. I know that the ML raw beep is about 5 frames after the start of the clip so that will give you your sync if you record your beep but you better not delete anything or miss anything because again you will be lost. There really is no great solution other then slating or going with that beep or in cam audio. I find if your careful slating and the sync beep is great but you need to get it right.

[1%]

You also can't beep and MLV w/ audio, its pretty likely to kill your sound.