[Tom Smith]

Heya thanks for getting back to me, here’s a few other details though that could possibly make a difference in your recommendation. This is shot on 3 cameras, none have timecode, they were older cameras. It needs to be synced and sorted in 2 weeks and I am thinking with that much footage, that much doing it manually with 3 cameras might end up cutting it close, and if I could even cut out 8 hours of time from the process by using Pluraleyes then I’d be happy, but then again I never worked with Avid OR Pluraleyes to sync a feature’s worth of footage, so I don’t know (I’m a Premiere user with experience on short films and corporate videos))

What is “TOD”?

There are no BWF files, they came out of the Tascam to me with a name structure as : TASCAM_0012s12.wav for example. I know from listening that the takes being announced in the audio have nothing to do with the naming though apparently, so I am going to need to listen and cut them into takes.

I decided against going the AMA linking route and am letting Avid ingest and just make the MXF’s. I don’t know what system the future editors working on this will be using and I know AMA can be a memory hog.

Also just give more detail, the way this was shot (On older cameras) and transcoded to digital leaves me with huge video files 2 hours long that contain all of the scenes shot on that tape which maybe be over multiple days. They aren’t like normal where you would have multiple shorter clips of each take per scene. Soooo yeah, I need to go through each long video file, clip out each take for each scene and then find which audio file to use off the Tascam, toss them all in a timeline and then… What do I do from there assuming NOT using Pluraleyes? I’m guessing mark in points where the slate syncs, and then autosync by in point? Now after I do that, if I have the multiple cameras on each track in one timeline, is there any easy way with Avid to then make three separate subclips, one for each camera track, using the synced audio track off the tascam that is in that timeline where all three cams were synced by the inpoint?

Sorry if that’s confusing.

[Tom Smith]

No they did have a slate, I’m sure 90% of the shots managed to get a clean slate and sync sound. I just dont feel like going into each clip to mark the in points if Pluraleyes can do it all for me.

[Tom Smith]

Thanks for the replies all

[Tom Smith]

Ah, didnt realize it was showing only one.

Since the final cut of this project is going to be for web, what is your preferred method for deinterlacing out of Avid? Timewarp effect?

[Tom Smith]

Hi Rich.

In regards to “”in case the camera malfunctions or shuts or off or something…”. If the camera malfunctions or shuts off, what is the point in preserving the audio channel? If you are recording wild sound that doesn’t require camera sync, then why would the camera even be involved?”

This is multi camera shooting for weddings.

[Tom Smith]

Thanks so much for typing all of that. I guess with regards to availability, the BMCC is indeed out of the question.

Another question i have then would be if there are other cameras you can recommend that would allow us to still use our lenses and shoot 4:2:2? I thin my partner is overly worried about the run and gun in a wedding setting. The only part of a wedding I can see the need to be quick on your feet with is the dance party.

[Tom Smith]

Hey Kris… The comp was dynamically linked from PPCS6/AECS6. In AE, the bit depth was set to 8 but it makes no difference if I set it to 32, the diffusion for the shadows in the comp just aren’t there when you view it in either PP or when you watch the final export. I am looking at everything on my computer monitor.

[Tom Smith]

Great stuff thank you all