Is there any way to automatically synch double-system-recorded sound to video in FCP?

[Stephen Pruitt]

Hi all. . .

I'm curious if anyone has any ideas how one might be able to batch import time-coded wave sound files recorded using a double system with the video data recorded on the RED. Surely one of the great hassles in editing is manually (and tediously) importing the audio for each shot into FCPro to mate with its video counterparts. Is there any system that you can just load the video into FCP and the audio into FCP and say "sick 'em boy!" and the machine will automatically do the linking for you?

Say "yes. . . " with this system (__________________your system here!), "it is as easy as 1-2-3."

Stephen

 

[Noah Kadner]

Sure try something like Boom Recorder:

http://www.vosgames.nl/products/BoomRecorder/

Noah

 

[M Most]

Hi all. . .

I'm curious if anyone has any ideas how one might be able to batch import time-coded wave sound files recorded using a double system with the video data recorded on the RED. Surely one of the great hassles in editing is manually (and tediously) importing the audio for each shot into FCPro to mate with its video counterparts. Is there any system that you can just load the video into FCP and the audio into FCP and say "sick 'em boy!" and the machine will automatically do the linking for you?

Say "yes. . . " with this system (__________________your system here!), "it is as easy as 1-2-3."

Stephen

"yes. . . " with this system (Avid), "it is as easy as 1-2-3."

Of course that doesn't really answer your need to do it in Final Cut. But it does "sort of" answer your question.

 

[Benjamin Rowland]

Version 6.0.2 of FCP can import BWF and really use them to the fullest if they have iXML. Check the release notes for details: http://www.apple.com/support/releasenotes/en/Final_Cut_Pro_6.0_rn/

This will get you timecode, reel, scene, take, circled, and note information from your BWF files into the browser of FCP. In FCP, it's easy to sync video with audio files based off timecode (or other options like in point). Just select the video and audio clips (up to 24 I think), and Modify>Merge Clips...

This creates a new clip with "Merged" on the end.

The limitation? It's one clip at at time. But it is easy, especially when your clips are properly labeled and your FCP browser is organized.

It would seem that a more automatic approach is just around the corner. Or maybe it is right under our noses. I'll need to think about this one.

 

[Stephen Pruitt]

Hi there, Rowland and MMost. . .

What sort of recorders create BWF files? I know that Sound Devices recorders .WAV files ARE .BWF files, but they need to be renamed to be used as .BWFs. This clip-by-clip junk is just awful. It really is shocking to me that no one has come up with a really nifty system to do the synching automatically.

Can Final Cut Pro read an AVID generated file? If it can, then perhaps I could use AVID to combine the files and then just use FCP for editing?

What a mess. . .

:-(

Stephen

 

[M Most]

Hi there, Rowland and MMost. . .
Can Final Cut Pro read an AVID generated file? If it can, then perhaps I could use AVID to combine the files and then just use FCP for editing?

There is no compatibility, "file" or otherwise, between Avid and Final Cut.

The only reason I even brought up Avid is because Autosync - a feature that does exactly what you're asking for, i.e. it merges video and audio clips based on common timecode - has been in Media Composer for at least 10 years. Having said that, however, synching takes very little time in a nonlinear editing system, whether you have common time code or not, provided you have sticks. If you don't, well, then I understand why you're so anxious to find an automated solution.

 

[Stephen Pruitt]

Well, sticks aren't the issue. . . we'll be using a TC slate for that. What IS the issue is synching the thousands of shots my DP will be making on my feature this summer. That sounds like no fun at all.

Stephen

 

[Mark L. Pederson]

Well, sticks aren't the issue. . . we'll be using a TC slate for that. What IS the issue is synching the thousands of shots my DP will be making on my feature this summer. That sounds like no fun at all.

Stephen

The summer?

Well ... by THEN I sure hope REDCINE will auto sync to BWF and allow you to export self contained QT's with audio.

Let's cross our fingers -

 

[Noah Kadner]

Assistant editors manually sync takes day in day out- it's part of the gig. So I recommend- a. hiring a sound recordist with experience in FCP with auto-syncing BWF, it's a totally doable workflow. And b. hiring an editor and asst editor with experience in double-system sound. This is how the big boys do it.

Noah

 

[Stephen Pruitt]

Yeah, Noah. . . but if you were shooting a film on my budget ($50,000. . . and actors are getting 1/3 of that!), you'd be looking for ANY possible way to cut corners, too. I would rather record the audio into the RED itself to avoid the issue entirely. . . but that's probably going to end up being too much to ask for.

Mark. . . I hope you're right about REDCINE. . . that would be TOO WONDERFUL. . . fully synched QT files. . . yahoo!

Stephen

 

[David Birdy]

My 2Cents

One option is to feed the Mic's, (up to four) into the REDONE inputs,
we are limited to Four inputs, but that’s ok because you can premix the sources then feed the premixed sources line level +4 then pad the source down to -10 just before it hits the REDONE as it will only take Mic level audio. If you would like the audio on a redundant device to pull up later split the sources to both destinations.

Another option is to covert the audio to AES after the mic and push AES to the REDONE, converting it to -10 just before the input. (I have not researched this option
100 %). AES has many advantages for a “Set” type location, including the option to use shielded Coax cable for long runs.

In 2006 I set-up a Workflow for NASCAR that used multiple HD Camera sources with dedicated Time code boxes. Every source had the same timecode, with an Avid the workflow is great and helped NASCAR Images receive its 1st ever Emmy.

Dave

 

[Mark L. Pederson]

as it will only take Mic level audio.

RED also accepts LINE input

 

[David Birdy]

Thanks Mark...Without My cameras I'm flying a little blind here, but I thought there was a post saying the camera would only take Mic level...Thanks for correcting my error & Happy New Years!

 

[Stephen Pruitt]

Yes. . . it is looking more and more like I'll just want to record the audio in the RED itself, rather than use a double system. I definitely don't want to have to worry about synching audio if I can avoid it. Yech.

:-(

Stephen

 

[M Most]

Yes. . . it is looking more and more like I'll just want to record the audio in the RED itself, rather than use a double system. I definitely don't want to have to worry about synching audio if I can avoid it. Yech.

And what is post sound (assuming you plan on doing that) going to use for overlaps and the like? Will they also have to load up all of the Quicktime files and thus all of the R3d files to do basic dialog editing?

Recording double system is not done just to further employment of Local 695 members. It's done to provide elements that facilitate all levels of post production, as well as to provide some assurance that the levels recorded are in the hands of someone who understands what those levels should be. I would recommend you reconsider.