In addition to the roundtrip process, there are also some neat tricks described to make the logging process easier which works for all syncing processes, not just with PluralEyes.
Mileage may vary with audio recorder being used, and diligence of the operator in logging this info. So only the production audio elements have timecode (time of day) including metadata such as project name, scene, take, track names, and comments that are all very useful to the post workflow. The following workflow is based on a production that used a Canon Mark II 5D for picture, and a Sound Devices 788T for audio. PluralEyes relies on both elements having an audio track or tracks to analyze and based on the audio content (waveforms) syncs the elements together either as new clips, or in the case of a Media Composer workflow, resets the relationship between the elements to be in sync. This document will not go into the steps of using PluralEyes itself, as that is well documented already, but the steps within Media Composer to prepare the roundtrip between the two applications. then the only real choice is to use PluralEyes from Red Giant. When dealing with a lot of footage that does not have timecode, etc.
Dailies can be synced manually with slate and clap, and hopefully those exist regardless of method used, but there are times when even that process was not done on set. but the Auto part relies on both sources having common timecode. Avid Media Composer s AutoSync feature offers a lot of unique functionality with which tracks to keep, range, etc. Even when they do sync issues arise due to human error or equipment malfunction. 1 Using PluralEyes to Sync Dailies in Media Composer 24p.com/wordpress Many of the cameras and audio recording devices being used in production do not have timecode jam sync capabilities.
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