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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Help - editing after synching the audio

well therein lies the problem...certain workflows require certain steps in certain orders...so no protools audio work on r3d is yet another reason why proxies do matter, cuz sometimes 48,000 handles is what it takes lol. Red is entirely correct to insist that they need r3ds used for coloring, but there is a lot of damn steps in between usually that do not need 6k full debayer kick ass looking stuff lol...

for the record i do love my 6k r3d files, but i suspect watching it on a rMBP doesn't do it justice... looks nice still tho
 
My current workflow is pretty straight forward.

Something got goofy on the set and there was no scratch (phantom power option off).

I took it upon to fix the matter since I have a ton of dumb experience from my last full feauture :P

They only want the audio to be synced to the R3D.

After that, then we go proxie.

The beauty of sync in FCPX is that if we decide to send out the audio to Pro Tools, coming back is a cinch to replace all audio used.

The trick is to leave all files in original place.
 
it happens, i had to fix an audio issue on my shoot the other day too... lucky for me TC was on almost all of it (so I fixed a problem I didn't cause by knowing how various NLEs can auto sync off TC)! hell yes for TC!
 
Brian Merlen said:
it happens, i had to fix an audio issue on my shoot the other day too... lucky for me TC was on almost all of! hell yes for TC!
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A big dream that one day Ill work on a movie that uses one :)

I have heard of horror stories with Lock it boxes so I wonder how that Tentacle Sync will do?
 
haven't used it yet...our issue was cam died and they didn't rejam it the other day, only one scene...what really screwed post was the B, C, and D cams were go pros and a 7D lol...
 
Brian Merlen said:
haven't used it yet...our issue was cam died and they didn't rejam it the other day, only one scene...what really screwed post was the B, C, and D cams were go pros and a 7D lol...
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I was late on the Indiegogo campaign for Tentacle :(

Yep thats a lot to sync about ;)
 
Eric Santiago said:
Agree, and as a musician and a Pro tools user (for over 10 years) I would have loved it if I can bring R3Ds into Pro Tools but in this case its overkill.
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For just syncing, you can use anything. For finishing -- which is what the o.p. was asking about -- I think Pro Tools is the answer for audio.

Brian Merlen said:
it happens, i had to fix an audio issue on my shoot the other day too... lucky for me TC was on almost all of it (so I fixed a problem I didn't cause by knowing how various NLEs can auto sync off TC)! hell yes for TC!
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I'll credit Michael Cioni for his great line: "Timecode is the tracks on which the entire post-production train rides. Without timecode... the train falls off the tracks." When all timecode matches, it makes life 99% easier for everybody.

Brian Merlen said:
haven't used it yet...our issue was cam died and they didn't rejam it the other day, only one scene...what really screwed post was the B, C, and D cams were go pros and a 7D lol...
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I want to make a T-shirt that says "Real Pros Don't Use Toy Cameras." And that means any camera that can't use interchangeable lenses or have internal timecode. GoPros and 7Ds are bullshit cameras. I get that they're necessary some of the time, like when somebody's falling out of a plane, but not for a scripted dramatic project.
 
Eric Santiago said:
I was late on the Indiegogo campaign for Tentacle :(

Yep thats a lot to sync about ;)
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They said you may be able to still get in on the deal. Contact them.

"Next days we will announce the retail price which will be higher as yours. More pre-orders can be made so we would be happy if you still tell people who might be interested in."
 
Bob Gundu said:
They said you may be able to still get in on the deal. Contact them.

"Next days we will announce the retail price which will be higher as yours. More pre-orders can be made so we would be happy if you still tell people who might be interested in."
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Thanks Bob I did and no reply to date.
 
Marc Wielage said:
For just syncing, you can use anything. For finishing -- which is what the o.p. was asking about -- I think Pro Tools is the answer for audio...
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100% AGREED!
 
Bob Gundu said:
They said you may be able to still get in on the deal. Contact them.

"Next days we will announce the retail price which will be higher as yours. More pre-orders can be made so we would be happy if you still tell people who might be interested in."
Click to expand...


Got the email that come January, it will be avaliable.
 
Marc Wielage said:
For just syncing, you can use anything. For finishing -- which is what the o.p. was asking about -- I think Pro Tools is the answer for audio...
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Well almost a year later and now shit hit the fan for me :)

Basically I inherited a feature and need to help the client (no budget left) get going with audio.

The project was synced and linked in RCX then rendered to Proxies h.264.

Rough cut was done in Premiere CC 2014.

Helped the fella out mostly in Color and finally got a decent base color in Resolve.

Waiting till picture lock to go deeper but till then this new found interest of mine which is the audio puzzles me.

I have a musicians backround with Pro Tools which means no post video/film experience at all.

Ive done some basic corporate stuff but nothing close to what Im about to help with.

I do understand how to deal with AAF into Pro Tools and a basic knowledge of laying out dialogue, foley and bedtracks but what confuses me is how to get it all going.

Do I just simply import all the WAVs and try to sync by had to the scratch track of the video?

Ive had the AAFs straight from the Premiere FCP XML and it seems fine but at that point you are working with the Proxie exported audio.

The editor fumbled a little (okay a lot) and made it very hard work with (the proxie audio).

Is there another way other than exporting a high res audio version of the Proxies and re-linking in Premiere then back to Pro Tools?

Most of you will say your nuts but hey, I love this shit and I want to learn even if it kills me :)
 
My advice would be to take the Pro Tools 101 and 201 courses that are specifically for Film & Video post-production, and they'll teach a lot of what you need to know. Trying to do it completely on your own will just lead to many mistakes and re-do's down the line.

The alternative is to hire a professional (even as a consultant) and have them set it all up for you, but I don't know of many who would be willing to do this.

The books I would recommend are Pro Tools for Video, Film & Multipledia:

http://www.amazon.com/Pro-Tools-Vid...=sr_1_2?s=books&ie=UTF8&qid=1443317510&sr=1-2

and

Dialogue Editing for Motion Pictures -- A Guide to the Invisible Art:

http://www.amazon.com/Tools-Film-Vi...=sr_1_1?s=books&ie=UTF8&qid=1443317510&sr=1-1

Both will illuminate a lot of the basic steps on sync and conforming. The Gearslutz group on the web also has an entire section devoted to post-production sound for film & TV, and many very experienced pros hang out there.

Suffice it to say that this is a vast area that can take years and years just to learn the basics.
 
Thanks Marc for replying quickly.

For myself I will take your advise.

But that will have to be on my own time and speed.

For this project I will need to find something fast.

I am just helping out where I can and will do my best to get them in the right direction.

Thanks again.
 
Before working with audio files from a Tascam or Zoom, process the clips through sound devices "wave agent" program, it's free and the sound files will be properly conformed for any NLE.
 
Shiblon Wixom said:
Before working with audio files from a Tascam or Zoom, process the clips through sound devices "wave agent" program, it's free and the sound files will be properly conformed for any NLE.
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Would I need to do that with Sound Devices WAV files?
 
After days of scouring the internet I have found nothing that would help me sync within Pro Tools other than by waveform visual cue.

I thought for sure there would be something similar to NLEs Audio/TC sync option.

It looks like Im going to have to export all the RED sync and link files to a high res audio format and hopefully re-link back to Premiere.

Again if anyone has any tips on this please send it my way :)
 
Tascam and Zoom audio files don't always work well with Redcine-X or with NLE's without being conformed first through Wave Agent, at least that's my experience.
 
no slate? try plural eyes on the raw turned to proxies and relink em to your cut sequence (or match frame it if you have to and it won't link to the cuts) either way will be less work than syncing it all by eye... if it works out which in theory it should
 
but going back to my offline/online point is many cable places, even ones making millions a show, use out dated stuff. I'm stuck there running beta cam tape decks, hd cam, encoding to dnxhd36, encoding interlaced, deinterlacing for distribution, etc. all kinds of things y'all would not believe. cable companies have lots of overhead, they don't change work flow often, the dated stuff lives in whatever they masted the cut on to at the time, and that is the "master". i sometimes uprez sd to hd, cuz the show was shot in sd... its the nature of the beast, post compresses all your pristine high bit rate acquisition stuff to lossy mpeg2, h264, etc and its so compressed i can hear the worlds tiniest violin playing every time i hit encode..
 
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