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How to match back alternate audio recordings?
Warning: I’m a sound nerd, not a video editor– so apologies if this is a dumb question:
Lets say you ingested your camera footage with 2 channel audio that was recorded to the camera. Lets say you did your edit with that material and were later told the ‘line mix’ that was pumped to your cameras was not of adequate quality.
You have a secondary recorder that was rolling the whole time which generated Broadcast Wave files that were timecode stamped with the same time-of-day code as the source media from your camera.
Is there an automated way in FCP to have it ‘conform’ the polyphonic secondary system recording files using the source timecode from the picture or from the audio in the timeline? Is it possible to generate an EDL and have it rebuild with the better media without manually finding and replacing?
Thanks
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4 Replies
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How accurate is the time of day code match? The EDL approach, in fact most reconnect type approaches will need timecode, reel numbers and preferably file names to be identical. How close are all these elements?
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[Vince Tennant] “Lets say you did your edit with that material and were later told the ‘line mix’ that was pumped to your cameras was not of adequate quality.”
Then it is time to punch the producer. Or bill him more for not telling you this in the first place. You can tell him that you need to manually sync all the audio to the footage, then manually, cut by cut replace that audio…because there is no magic button for this…
Or…you can use the magic button and amaze him/her.
https://assistedediting.intelligentassistance.com/Sync-N-Link/
And tell them next time they need to give this to you up front…so you can do your job right the first time.
Sheesh…it’s like Glenda the Good Witch saying “Oh, you’ve had the power to go home all along. Just tap your ruby slippers.” You could have said that when she was with the Munchkins lady!
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Let’s assume the timecode is perfect or within a few frames.
The reel numbers are not the same (assume the tapes were captured by tape, the secondary recorder was not stopped/started but rather ran continuously during the shoot) and the file names are whatever was generated automatically by the recording system.
There is a tool for post audio I use all the time called TITAN that will just read the source timecodes, you point it to a directory of media and it finds the same timecoded section in that media and creates a timeline. It seems like a rather basic concept so I assumed a NLE could do the same.
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HA! Billing, that’s funny. This is actually the norm on 99% of the shows I deal with: They capture what is on the VTR and never touch the backup recordings unless we (post audio) specifically ask for it. And even then it’s just a line here or there if we really really feel we need it. And these are major network programs with millions of viewers.
Obviously they don’t bother to capture that secondary audio when digitizing their media in the first place, again too time consuming and not enough money.
However by the time when we get an OMF of the locked cut and entire show is garbage, it’s a bit too late in the process to much more than try to match it back and find the good stuff where we can. I have tools to do so (TITAN), however clients NEVER have budget to pay for an assist to go through and spend a shift flash conform their shows (let alone have the time)… so I’m trying to find a way they can do it on their end when the show locks… and I mistakenly assumed since it’s basically just a bunch of timecode crunching that programs like FCP/AVID would offer the ability.
I will pass along the Sync and Link info. Thanks!
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