[Michael Phillips]

Considering the mess you’ve been handed with and whole days worth of dailies as single clips, you probably are better off with PluralEyes as at least it the return AAF will show you STARTS and STOPS of each take in the audio track… unless the audio is also one big-ass file. 😉

Michael

[Michael Phillips]

How do you plan on finishing this film?

Michael

[Michael Phillips]

And propre slating is more than just sync for editorial, especially in feature production. Proper scene/take and other metadata goes a long way to cross reference reports and logging.

Michael

[Michael Phillips]

PluralEyes can do it for you, but the process has additional steps that may or may not save you any time. I find that if there is clean slate and clap, I can sync faster manually than with PluralEyes. I am also gong to assume there is no common timecode between picture and sound elements? You are also aware that the reference track on man camera are not in perfect sync to start with so PluralEyes’d clips will also be off by the same amount?

PluralEyes:

Load picture and sound clips in timeline. If there is TOD of both, you can do an autosequence with option key to create a timeline in ascending timecode order with no gaps.
export AAF
import AAF into PluralEyes
do it’s thing
export AAF
Import AAF back into MC
load AAF sequence into timeline
Choose to remove scratch track or not with edit (maybe that’s done in PluralEyes, I don’t know.
Mark In-Out on every event and create sub-sequence
hiloght all sub-sequences and select Autosync
rename all sub-sequences to proper scene-take
done

Manual Sync:

Load picture clips in source mark in on clap
load sound in source and mark on clap (use source viewer in timeline to see source waveforms)
Select both object in bin
Select AutoSync
done

Advantages of AutoSync from clips (and not sequences) are:

1. If BWF files have been logged with scene/take they carry over and can be used to automatically name clips. See the syncing section of the RED demo at https://www.avid.com/red
2. You have the ability to choose which tracks to keep or remove as part of the operation. For example, keep only the mix track in the .sync clip. The editor can always match frame back in source to the ISO’s if needed.

Of course if there is common timecode, then you just select all picture and sound clips and do a batch AutoSync as one operation.

Michael

[Michael Phillips]

I will bet a large sum of something that from a camera’s perspective, it is really 23.976 and is shorthand for space considerations in menu selection or something like that.

michael

[Michael Phillips]

Replace edit uses the record side duration as its marks – so the source can be longer.

Michael

[Michael Phillips]

Most likely due to the fact it doesn’t know the whereabouts of the clip itself, only the essence. You could try a relink to selected from all the open bins that contain the media to force that link.

Michael

[Michael Phillips]

Can the replace edit work? Check out the documentation for its different uses. It’s the Blue Arrow key.

Michael

[Michael Phillips]

I can’t keep track of Newscutter version numbering, but if it’s from the last 2-3 release cycles, there is a similar function in MC (and should have been inherited by NewsCutter) that does the same thing. They are called “select left” and “select right.” By default they are in the top button stip that is part of the timeline.

Again, NewCutter may be different, so look in the command palette as well under the “edit” tab.”

Michael

[Michael Phillips]

No there isn’t. You can’t even associate a project at the drive level other than not using the OS drive.

Michael