Go ahead and load a few clips into the source monitor to take a look. Premiere just batch synced an entire scene in a couple of mouse clicks! In either scenario, you’ll soon see new multi-camera sequences populating your bin, with your raw audio and video moved into a Processed Clips bin, if you selected that option. If you’re syncing by timecode, the results should be instantaneous, whereas if you’re syncing via audio, you’ll see a progress bar as Premiere analyzes the tracks. Once you’ve got your settings selected, hit OK and let Premiere get to work. But, if you’re so inclined, at the end of this article I’ve included an Appendix which briefly runs through what they affect. We can leave most of these settings alone. Once you’re organized, simply highlight the video and audio clips for the scene, right-click, and choose Create Multi-Camera Source Sequences.Ī settings box will come up with a number of options for the clips you’re about to create. Sync by Creating Multi-Camera Source Sequences Plus, if you’re syncing by waveform rather than timecode, you’ll tax your system if you attempt to sync an entire day’s worth of material at the same time. While you can sync in batches larger than a single scene, I find it easier to keep track of and fix any issues working with smaller batches of footage. In Premiere, I recommend having all of your raw footage organized into scene bins, with both the audio and video in a single container folder. If that’s the case, talk to the sound mixer to ensure that the levels are set properly to match back to the production audio. Sometimes the budget will only allow for the scratch track. Talk to both your DP and on-set sound mixer and let them know you’d prefer to have both jam-sync timecode AND a reliable scratch track running. While it’s extremely rare to find errors with timecode syncing (unless of course your timecode has drifted), Premiere can have a hard time with audio waveform syncing if your scratch track quality is poor or the sync sound has a low volume. It’s also fast and easy, so let’s get started! Set Yourself Up for Success While not nearly as robust as Resolve, I’ve found that Premiere almost always gives me better results than third-party plugins, without the hassle of having to pay an additional fee or switch between software. There are some pretty significant reasons that may change your outlook if you’re muli-cam proponent. Personally, I prefer to take the syncing process one step further and create merged clips. I realize this may come across as a bold statement to many Premiere editors, and I’ll explain in detail why I prefer merged clips over multi-camera clips. Many seasoned Premiere editors choose to edit with multi-camera clips. Many people don’t realize that Premiere actually has its own batch sync tool hidden in a feature you’ve likely used many times already-Multi-Camera Source Sequences. So, what do I do in these scenarios… Sync in Premiere. On the feature I’m currently cutting, the DIT transcodes proxies as he offloads camera cards, but he doesn’t receive the day’s production audio until after wrap, which makes syncing on set impossible. Or, in some scenarios, you may be shooting in an edit-ready codec like ProRes or DNxHR and simply don’t need to create proxies. If you’re planning to use Premiere’s built-in proxy workflow, which requires that proxy and full resolution media have a matching number of audio tracks, then creating synced proxies in Resolve flies out the window. Yet syncing in Resolve isn’t always the best option for your overall workflow. I’ve already written about my preferred method-using DaVinci Resolve’s auto-sync feature-which allows you to batch sync an entire day’s worth of footage in one click. Syncing production audio is one of the most tedious and time-consuming post-production tasks.
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