Syncing Audio In RocketcineX or RedcineX

[Jesse Korosi]

I am looking for some tips or tricks anyone may have for syncing in Red software...

I am able to sync and playback my audio fine within Redcine-X and also Rocketcine-X, but am curious if it is possible to do the following:

- Roll your audio forward or back frame by frame with the Set Offset tool, so that if your jam sync has went out by a frame or two it can be fixed.

and also

- Export out a Q.T file that will have separate TC for audio and video?

Any advice would be greatly appreciated.
Cheers,

 

[Deanan]

Rocketcine can fine tune the sync points and REDcineX will have that shortly.

Only the video TC is output right now.

How are you intending to use the additional TC tracks?

 

[Jesse Korosi]

Thanks Deanan,

I will make another attempt at figuring out how tweeking your sync points works as I haven't been able to get that working yet in Rocketcine-X 1740. Is there anywhere that you know of that has a step by step instruction on how this works?

The reason I ask about the multiple TCs is so that if you are going into Avid or FCP with your QT you will have separate TCs for both video and audio, and be able to link back to your original .Wav file in your online, rather then having to make a database to track the audio TC (for fcp editors that is).
This is a very common request on long format shows because the editor only wants to cut with the stereo mixdown...and there for can not just export an OMF for the audio cut.

Cheers,

 

[Deanan]

Thanks Deanan,

I will make another attempt at figuring out how tweeking your sync points works as I haven't been able to get that working yet in Rocketcine-X 1740. Is there anywhere that you know of that has a step by step instruction on how this works?

The reason I ask about the multiple TCs is so that if you are going into Avid or FCP with your QT you will have separate TCs for both video and audio, and be able to link back to your original .Wav file in your online, rather then having to make a database to track the audio TC (for fcp editors that is).
This is a very common request on long format shows because the editor only wants to cut with the stereo mixdown...and there for can not just export an OMF for the audio cut.

Cheers,

For Avid, we should be adding it to the ALE file soon.

For QT, often apps just ignore the other timecode tracks.
I'm not sure if the changed with the latest FCP.

 

[Jesse Korosi]

"For QT, often apps just ignore the other timecode tracks."
I didn't realize that...

Having that info in the ALE will be great as I am manually inserting all of that info currently!

Thanks again Deanan.

 

[Jesse Korosi]

Thought I would bump this old post back up again.

Just curious if RedcineX should be outputting Sound Meta-Data yet? After sound syncing in RedcineX 351 and importing the ALE into Avid the SoundRoll and Sound TC info does not carry through...
Just curious if this is working for anyone else?

Thanks,

 

[MichaelP]

I don't think that's been enabled yet. Same thing with 1/4 frame audio sync. Two things that Red and I are discussing right now. I still prefer syncing in Media Composer directly from the BWF's.

Michael

 

[Jody Neckles]

Thanks Deanan,

I will make another attempt at figuring out how tweeking your sync points works as I haven't been able to get that working yet in Rocketcine-X 1740. Is there anywhere that you know of that has a step by step instruction on how this works?
Cheers,

For Avid - Sync in Media Composer directly as it tracks all the TC metadata and has powerful options.

For FCP - Purchase a Copy of Sync-n-Link... Again very powerful and worth every penny (or cent!)

 

[Jesse Korosi]

Thanks for the replies guys!
It would be a nice feature to have. I am curious as to what Cioni and his crew were doing on set for Pirates and Narnia. (I was under the impression they were syncing in RedcineX)

I currently sync everything in Media Composer for Avid jobs which works fine. But if you are creating SD editorial files and want to make screeners from the synced files. Only having the option of starting your conversion from an SD file is not ideal! For any multi camera shoot on a long format show it is common to not have sound fed to camera, so using the in cam. sound for screeners isnt an option either.

Or if you have no burn in on editorials files, but you want burn in on your screeners. Having your masters synced versus a down convert would be the best route, as you could go to any other format from there without worry.

In terms of Sync-N-Link for RED jobs I tend to still manually sync these. Just because it is very rare to get a job that is jammed perfectly for the whole shoot. Therefor syncing via TC wouldn't be frame accurate.

Cheers,

 

[Jesse Korosi]

I guess if you are using an OMF workflow and not relinking back to your original .wav files syncing in RedcineX would be fine though.

 

[MichaelP]

MC v5 has additional features for AutoSync that would allow you to still make sync dailies via REDCINE X for DVD's, QT, (review copies and such) and still import the BWF into Avid for syncing and metadata tracking. You can choose to keep audio on original video or to remove it as part of the one step sync process. So basically giving you flexibility in your workflow.

One of the considerations is how many audio tracks are in your BWF and how many you want to track and use in editorial. I was just dealing with a production doing an Altman style overlapping dialog film where they will be using three SoundDevices resulting in 24 tracks they want to keep and have access to during picture editorial.

Michael

 

[Jesse Korosi]

What exactly do you mean by "Via RedcineX"? Do you mean if you sync in RedcineX and output all channels (assuming there were less then 8 recorded) you can import that into Avid and then reconnect to meta-data from the broadcast waves?...I dont quite follow.

The job you were on sounds very familiar! We often have a mixdown on tracks 1 and or 1 and 2. Editorial wants to use the mixdown for their edit. But they need to have access to the other tracks just in case there are any issues with the mixdown. Using Media Composer 4 the way we accomplished this was by un-linking the media within our bin and then going into the modify tracks menu to turn off the additional tracks.
Was this the same workflow that you used with the 24 tracks of audio you had, or is it a new and or different method that you used that is only available in MC5?

Thanks!