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Avid and Pluraleyes Question
Hello,
This is my first time using pluraleyes, and I wanted to ask something before I begin. From reading around there seems to be two methods for using pluraleyes: either create new files in the program itself, or drop everything into an avid sequence and let it sync there, and then either edit on that timeline or create subclips from it. Both of these options seem suboptimal – up until now I would sync my audio manually on transcoded clips, and once I finished with the entire editing I would relink the materials and export in the highest quality.
I am about to start editing a short film, about 4 days of shooting, shot on 4K. Creating new files in plural eyes will take a lot of space, but I’m afraid that I will have problems relinking once I’m done editing if I use the second method. Am I missing something? Is there any method that is a bit closer to the manual syncing process in avid?
English is not my native language, so if anything isn’t clear I’m sorry.
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3 Replies
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You are very clear and if English is not your Native Language you wrote a very easy to understand Post. I think your English is better than mine actually.
Only Version 3 of PluralEyes works with Avid not Version 4 and I would stay away from creating new files. Actually stay away from PluralEyes altogether especially with Avid. You will have relink issues with both your Video and Audio. Especially if the Audio is going to a separate mix outside of Avid and you create new files. The Audio guys will want the Original Audio and there will be no link back to any of it. I really find PluralEyes to be less than great, even with Premiere. It always brings in random Master Clips which then need to be sorted through and cleaned up.
If your using a newer version of Avid it has AutoSync by Audio Waveform, you could use that or sync manually. You could also create Stacks then Sub Clips from the Stacks. Once all the Sub Clips are done just right click on them and select AutoSync. You will now have Synced A/V Clips.
Stick with your original workflow. Transcode everything in Resolve to OP-Atom files and just make sure that your Conform Options are setup so that the Reel/Tape Column is Populated. I’ve included a screen shot of the settings I use most of the time. Especially for Cameras that don’t have Embedded Reel/Tape Metadata.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”
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Avid’s sync by waveform works, but is a pain to use when you have a lot of dailies as the process does not identify which clips belong together, you have to select each pair. You also want to consider whether you want to syn sync by 1/4 frame or not, how you work with sound post, etc.
Here are some related blogs I wrote:
Why I use a film Project:
https://24p.com/wordpress/?p=16(Auto)Sync Guide:
https://24p.com/wordpress/?p=163Using PluralEyes with Media Composer:
https://24p.com/wordpress/?p=218How to Use Resolve Waveform Sync with Media Composer:
https://24p.com/wordpress/Michael
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I agree that AutoSync by Waveform can be a bit of a pain and it can also be slow.
I always sort my footage by TC and sync in pairs when I get good or reasonably accurate TC.As for Perf Slipping I always turn on 4 Perf Slipping.
If the TC is good I AutoSync by TC and then Perf Slip.
If the Audio Guy always starts rolling before the Cameras and Stops after the Cameras then Perf Slipping is a breeze.
We always discuss this with the Audio Guys Pre Production and they generally are pretty good about doing so.\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”
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