[Oki Pienandoro]

Here’s another (obvious) idea:
Use duplicate image finder. I’m sure many of them have batch feature.
The downside is, well,..you have to extract from each video to image sequence, it will give you tons of pic.

Edit :
Oohh,.i found an interesting software,.this mght be it. I didn’t check/use ti though, i only read the feature.
https://www.attrasoft.com/products_videofinder.asp

Another edit:
https://duplicatevideosearch.com/
Also,..
https://www.yuvsoft.com/2d-technologies/video-matching/

And there are many of other software if you use keywords like “fingerprint”, “content id”.

Good luck, and let us know which workflow you use in the end, i’m curious about this myself.
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Sorry for the english, not native speaker.

[Oki Pienandoro]

If the audio track is unchanged, you can find the clip by comparing them using PluralEyes, you can even find the exact cut.
The downside is, you have to choose the exact source footage. And there are no batch function in PluralEyes, AFAIK.

If the audio is not reliable and you only have the video as information,..hmmmm…

OK..this was on top of my head, but i think it should be possible (to some extent).

You can “abuse” MSU codec comparison tools, they can use SSIM (Structural Similarity).

This was designed to compare two video files with different codec, the closer the value to one, the more similar to the original file.

Now,..you can abuse this functionality to your need.

Extract the first frame from the generated clip/head clip, then compare the still image to the source video.
You can also joined all the source video using avisynth, negating the need to compare each video individually.
The still image need to be converted into video, you didn’t have to render at all if you use avisynth.

But don’t forget to resize the source video to the exact same size as your 360p.

Now, when they finished the comparison, the result will be presented in csv file, you can find the exact frame by seeing the number, it supposed to be 1, or very close to 1. The data also comes with the frame count, so you can find the exact frame/cut at the same time.

Sorry if it didn’t makes sense, it hard to convey structurally what i mean in english.

Edit :
Ooh,.forgot to mention, MSU codec tools can do batch processing, but the batch procesing only available in Pro version, a $1000 software. The free version can only do one file at a time.

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Sorry for the english, not native speaker.

[Oki Pienandoro]

You mean split it based on scene changes ?
Yes you can, there are couple ways that i know of.

If you have After Effects, use Magnum Edit Detector (available on AEScripts.com) you can copy paste the comp to premiere project panel, no quality loss whatsoever.

On Premiere, you can generate EDL (Edit decision list) based XML, using fprobe (you can get fprobe by downloading FFMPEG). It’s free. but the result it’s not as good as AE way.
Here’s how:
https://www.danielbachler.de/Automatic-scene-detect-via-ffmpeg-and-create-edl

If you have Speed Grade, you can also split it. But i’m not sure whether it can be imported back to premiere. Maybe it can, but i never done it before.

To auto-compare with the existing footage,…hmmm…
I have no idea at the moment, in fact i think that was a million dollar question.
The closest you can get is generate timeline thumbnail, then compare manually (might be tedious, but it’s more efficient if you comparing a huge number of files than manually scrubbing in the timeline one by one)

https://forum.doom9.org/showthread.php?t=162466

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Sorry for the english, not native speaker.

[Oki Pienandoro]

Macro is a set of key combination that you do repetitively. You make a “hotkey”.

Hmm..let me rephrase that.
Let say you often do a repetitive task:
You save, you close the project, then you open another one.

With macro, all of this can be done with single button you choose, a hotkey.

Let’s say the hotkey is [Insert], so everytime you press insert, the macro were executed orderly (Ctrl+S,Ctrl+W, Ctrl+O).

To make macro (easily) there are many freeware available. There’s no need to know about the scripting behind all of that.

All you have to do is open the macro program, then tell them to start recording macro. Then you do your usual workflow (preferably a keyboard shortcut rather than mouse), stop recording macro.

After that, you set a hotkey you prefer to execute macro.

I simplified things, there are couple of steps before you execute macro.
Almost all macro program also recording how long you do the task (how fast are you pressing the keyboard key). So if you record slow keyboard key, macro will playback with the same speed.

A good macro program can edit the duration of each keyborad stroke AFTER you finished recording.
This way, you can record carefully, and then you can edit the duration of keystroke at much faster rate on during macro playback.

What i wrote above is just an automatic way using macro.
The point is:
[repeat]
You highlight the audio clip, and choose intrepret timecode. You copy that audio clip time code, switch to the timeline, go to the timeline timecode, and paste the timecode you copy earlier. This will move the playhead to the correct spot. Then you can do audio source insert edit. This will place the audio into their correct timeline.
[Repeat]

Get it?
Choose next clip (down arrow), and press the macro hotkey.
The macro will perform all the steps inside the [repeat].

Also check my answer below, there are audio workaround that didn’t involve macro (but you have to deal with hundreds of tracks ; yet easily solved with keyboard shortcut, a bit repetitive; and yet even faster if you want to do it with macro.)

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Sorry for the english, not native speaker.

[Oki Pienandoro]

You didn’t read my answer above ?
You can auto-place the video; The video are placed automatically according to their timeline (using Multicam hack). This solve half the problem. You will have multiple video track (100), but you can put them in one track using shotcut key, repetitive, but it was fast.

The audio in the other hand have to do a “manual” thing. But since you can make a macro, so it was semi automatic.

Then all you need to do left is to join the video and audio under one sequence.

Other than that,,..the other solution is to edit the XML project files. Then again, you need to intrepret the timecode, since in Premiere XML, it’s was not plainly written in SMTPE format (CMIIW)

Edit :
Here’s another workaround with the audio.
Merge the audio with timecode as sync point.
You will have multiple audio track, but it was sync according to their timecode, just like the video multicam hack.
Place them under one track with shortcut key, repetitive, but it was fast.

So there you have it, a full automatic workaround (with or without macro).
The only manual thing left is you have to manually put them under one track.

Edit 2 :
I know you already said you use Sony F5, but i came across this :
https://www.youtube.com/watch?v=JQC0MqqQUSk
Looks like what you need.
Their site is down, but there are copy of their software (freeware)
https://www.videohelp.com/software/DSLRsync/old-versions
https://www.facebook.com/DSLRsync (inactive)
https://www.dslrsync.com (dead)

During install they suggest to install K-Lite, don’t install K-Lite ;its unnecessary (bloated ?) codec pack

Be aware they states that it will override tc, make sure backup your file first before attempting this.
It may not actually work for footage from Sony F5, or maybe it’s just for continuous audio.
I just put it here just in case it works.

Note : I never test this at all, i held no responsibility on any damage of using this software.

Last note, good luck with the syncing, let us know what path you finally took/found !
I’m curious about this myself.
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Sorry for the english, not native speaker.

[Oki Pienandoro]

Ah very sorry, i misread your original question, i thought you have one continuously AUDIO, and 180 clip of video

However, you can put the video automatically according to their time code
Do a “multicam”.
Premiere will put the clip under in the timeline according to timecode.
Sadly premiere cannot put audio clip automatically
The audio however,..hmmm…let me think about it…

There HAS to be away..

Okay,..Maybe you can do semi automatically using macro.
[Macro Start]
Highlight the audio clip, Clip|Modify, Press tab couple of time, Ctrl+C in the timecode field, escape.
Alt+W, T couple of time, highlight the timeline sub menu, right arrow, choose timeline, enter.

Now you’re in the timeline:
Tab couple of times, highlight the timecode, Ctrl+V, enter.

Shift+1
Now you’re back in the project windows
Alt+C+I (to insert the audio)
[Macro End]

This way the manual thing you have to do is just to select the audio clip that you want to place in the timeline.
Basically you just have to do : Down Arrow + Your Hotkey for your macro.

I’m bet it’s gonna be less than 15 min to place all the files if you do this.

Edit :
Get it ?
The purpose of video multicam is just to place the video according to their timeline, you can expand the multicam, do select all, then paste the video after the audio (macro assisted) is in place.

This way all is sync perfectly, according to their timecode (unless i miss something else)

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Sorry for the english, not native speaker.

[Oki Pienandoro]

No ref sound, i feel you buddy !
Honeslty it’s been a year since last time i do timecode related job, so i’m a bit rusty.
So take my suggestion carefully.

Find the first/2nd/any clip that you were confident that it is the video-audio “pair”. Make note of the timecode difference. Subtract/add them, you will get the offset value (time difference).

From here on, there are couple of route, pick one :
1. Batch offset timecode with the offset applied. I forgot with what i do the batch, probably using WaveAgent or something else, i forgot, just google for similar tools. But be aware, this will override the current timecode. Make a duplicate/backup just in case there are drifting, and you want to get back to original timecode.

2. No need batch edit, you can simply force the clip to jump in your specified time (highlight the clip, hit + on numeric, type the offset). To ease the process, you can do this automatically with macro.

3. Did you have access to FCP 7 by any chance ? I believe FCP 7 has some automated feature to solve this exact problem (but honestly i forgot how to do that). But i remember one of the experiment i do in the past involving FCP (import on FCP, do the timecode offset there, export as xml to premiere).

Like i said, sadly none of the workflow above actually applies on my case, in the end i must do all the clip manually because audio drifting and messed up timecode.
But if you have a perfect sync, that workflow above i think is the way to go.

EDIT :
I type that in a rush, i clearly misssing some of the steps, but i hope you will get what i mean.

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Sorry for the english, not native speaker.

[Oki Pienandoro]

Hahaha,..i feel you, i was (and still) in your shoes. All the tutorial and workflow in the forum/web is a simple one isn’t ? One continuous take, single audio, etc…ahh..i wish life were that simple.

Back to your question:
If the camera and the sound recording were not synced PERFECTLY before recording, well..they will not have the same timecode, isn’t it ?

Good news is, there’s a chance you can offset the timecode, and everything will fall perfectly. But ONLY if the timecode on BOTH devices were consistent. It doesn’t matter if they were not started / sync from the start, as long as they were consistent, you can offset the timecode.

BUT, there are also an audio drift issue, usually noticeable in a long take (depends on the hardware).
This may turn ugly.

If there’s a chance to work with them again,make suggestion to them to consider using a timecode lock.
https://www.google.com/search?q=sync+lock&ie=utf-8&oe=utf-8#q=timecode+lock
They can do anything they want, jumping up and down for all i care, timecode will be locked, and our life as editor is much easier.

You also might consider using Pluraleyes, as long the camera also recording sufficient sound, you pretty much very lucky in this case. It’s very easy to sync.

Btw, if the camera is Canon DSLR (even C series), you pretty much in bad situation. Canon camera is not running the timecode all the time. Even if they were sync at the very beginning, their timecode will drift everytime the camera is turn off/changing battery/something like that (Canon states this even in the user manual). Using timecode lock in multiple take with separate audio is a must for Canon camera.

Btw, 100 is small. Last time i deal with this i have to do 1000+ unsync clip with no timecode, no clapper (T__T)
And it was rhythmic music event, similar sound throughout the event, PluralEyes is a no go, only manual adjustment for each and every single clip, and it super haaaaarrddd !

Sorry for the long post and unnecessary story 🙁

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Sorry for the english, not native speaker.

[Oki Pienandoro]

OK, i’m sorry i can’t help you to solve it. Good luck man.

Last tiny bit thing, aside from codec problem (which is unlikely since you said it can be viewed on program monitor), maybe the previous editor use some 3rd party plugin or something else in the video, either you didn’t have it, or it’s broken somehow, although the default behavior if such problem exist is not exactly like you described, it should be can be viewed on program monitor.

Try “remove all video effect” and reset motion, opacity etc if you haven’t try that yet.

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Sorry for the english, not native speaker.

[Oki Pienandoro]

that I can bring new video files onto the timeline into the same project on the same channel and play them back perfectly, however I cannot view any of the existing clips on the timeline

OK, let me clear one thing. So a new video can be viewed perfectly on the program monitor, but those two AVI and mov files you mentioned earlier cannot be viewed on program monitor ? Am i getting this correctly ?

How about if you put that two troublesome files on NEW PROJECT (not new sequence) ?
Are the problem still exist ?
If it was the case, then there’s chance the video itself is broken (although it’s weird that video can be viewed on source monitor)

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Sorry for the english, not native speaker.