Personal View site logo
Make sure to join PV on Telegram or Facebook! Perfect to keep up with community on your smartphone.
Please, support PV!
It allows to keep PV going, with more focus towards AI, but keeping be one of the few truly independent places.
PluralEyes for sound sync
  • Vitaliy_KiselevVitaliy_Kiselev

  • 44 Replies sorted by
  • Pedro_ESPedro_ES

    "Get a free copy of pluraleyes express when you purchase any of these RØDE microphones between April and December 2015."

    "Revolutionising your dual-system audio workflow, PluralEyes analyses the audio from multiple cameras and other audio devices and syncs them up in seconds, eliminating the need for clapboards, time code, or manually syncing audio to video in post-production. With a comprehensive range of broadcast microphones applicable for dual-system setups, RØDE recognises PluralEyes as a vital tool in post-production for enthusiasts and professionals alike, and has joined forces with Red Giant to bring you PluralEyes Express.

    PluralEyes Express allows you to synchronise as many as 10 different audio and video up to 30 minutes in length in total, and is fully compatible with Adobe Premiere Pro, Final Cut Pro X and Final Cut Pro 7 NLEs. Additionally, users of PluralEyes Express can upgrade to the full version of PluralEyes for only US$79 on the Red Giant website."

    http://www.rode.com/pluraleyes

  • cls105cls105

    I find plural eyes 2 to be much more effective than version 3 when syncing my Avid Media Composer aafs. Version 3 will give me errors and 2 will not. I don't get it.

  • Vitaliy_KiselevVitaliy_Kiselev

  • Vitaliy_KiselevVitaliy_Kiselev

    RG is releasing this free PluralEyes 3.1 update, just two months after the product’s debut. PluralEyes 3.1 is accessible to more professional editing platforms, supports a wider variety of camera formats, and adds a new time-saving workflow feature.

    What’s New in PluralEyes 3.1

    1) Get Avid support. Now imports and exports its synced timeline directly to Avid Media Composer on Mac, along with Final Cut Pro and Premiere Pro.
    2) Get MXF support. Supports more professional workflows, adding native MXF support for Media Composer and Premiere Pro.
    3) “Do It For Me” feature. A new set of features quickly imports and organizes your clips. You drag-and-drop the clips as ‘Takes,’ hit Sync, and PluralEyes figures out their relationship.

    Via: http://www.redgiantsoftware.com/blog/2012/11/27/software-update-pluraleyes-3-1/

  • peaceonearthpeaceonearth

    In one of my last jobs I recorded sound with R26 / ME66 on a boom. That was quite perfect but as on-board sound was a little low sync did not work with PluralEyes (PE3 trial) for Premiere. I was very disappointed esp as FCP X did a great job with the same files. Thank God I had a clap for sync in Premiere.

  • sicovdplassicovdplas

    I don't like Plural, rather sync on the claps i do on set :)

  • Vitaliy_KiselevVitaliy_Kiselev

    RØDE ANNOUNCES PLURALEYES BUNDLE OFFER

    Friday November 2, 2012 – ‘Dual-System’ audio for filmmaking has never been easier this November and December, thanks to RØDE Microphones and Red Giant Software.

    Every purchase of a RØDE VideoMic Pro or Stereo VideoMic Pro microphone from an authorised RØDE dealer worldwide during November and December 2012 qualifies for a free copy of Red Giant Software’s award-winning PluralEyes audio and video synchronizing software. Valued at US$199, the software will be supplied free to the customer via direct download upon online registration of their microphone’s free ten year extended warranty.

    The RØDE VideoMic Pro and Stereo VideoMic Pro have become the DSLR microphones of choice due to their high-quality audio, ease of use and compact form factor, and are a ‘must-have’ for getting the best results both in single and dual/multi-system audio setups. This practice involves recording ‘scratch’ audio direct to camera as well as capturing close-miked or boomed audio to a separate recording device.

    By synchronising audio and multi-camera video automatically, PluralEyes has revolutionised this post-production workflow for filmmakers and video editors. Prior to PluralEyes, filmmakers would have to use a slate, clap or similar sound to create a spike in the audio signal that they could use to painstakingly align multiple tracks by eye.

    Accelerated to up to 20 times the speed of previous versions, PluralEyes 3 now makes it easier than ever to integrate multiple audio and video into your production.

    For more information on the offer, or to claim your free copy of PluralEyes 3, please visit

    http://www.rodemic.com/pluraleyes

  • DrDaveDrDave

    I just did a project with a bunch of clips, and if I had synced them automatically by waveform, they would all be slightly off. Gotta bump each one to get it dead on.

  • JohnTollwannabeJohnTollwannabe

    But will these newer versions of PE handle and correct for audio sync drift without distorting the pitch?

    Lockable, master time code syncing should be a MANDATORY feature for all video and audio recording products. PERIOD.

  • brianlucebrianluce

    I've done clappers too, fine for a few long takes, but PE is just so much easier for me. Great investment from my POV. Also, syncing musical instruments is impossible for me. PE all the way.

  • soundgh2soundgh2

    That's why I stay off location nowadays :) Much warmer and easier inside !

  • peternappeternap

    @soundgh2 I Did it that way for a long time and flat dreaded it. I might have 75 clips that I shot during a day that had to be synced and edited by the next morning.

    I used clappers, dog training snappers, clapped my hands, slammed a book shut....and the bottom line is, it takes time to do multiple clips.

    I bought Dualeyes and fell in love. Then I bought Plural Eyes so I could do it on the time line. I'll never go back to the clapper.

  • ragnarragnar

    ...have used it a handful of times. I have to say it felt like magic to an amatuer like me. I threw all of my audio clips that my Azden SGM-2X shotgun captured to my Marantz PMD 670 into a folder with my GH2 clips that had the guide audio from the GH2 mics. I told PE2 to 'work hard' and it matched up every single clip with my better audio. You can tell PE2 to create copies and not touch the originals or have it replace everything with the new clips the PE2 created. Anyway, PE2 has allowed a hack hobbyist like me to actually be able to quickly mate those clips together. I just couldn't stand doing it manually anymore.

    Harold House

  • soundgh2soundgh2

    @peternap lol sorry not very constructive I know, but just what the guys in the backrooms think - a nice voice ident and a clap serves just as well to be honest - or the free ipad clapper if you feel fancy - output time of day timecode out of your headphone port into the camera and voila - app example

    https://itunes.apple.com/us/app/movieslate-clapperboard-shot/id320315888?mt=8

  • GravitateMediaGroupGravitateMediaGroup

    I do not use PE3 because it's not available for sony vegas (yet) I have seen video reviews and demo videos on youtube of it doing a pretty descent job and REALLY fast

  • peternappeternap

    @GravitateMediaGroup I have PE2 and can't imagine syncing two or three recorders and 3 or 4 cameras without it. I got an email from Red Giant about PE3 and was interested in how it stacks up against PE2.

    I'm tired of buggy upgrades and wanted see if anyone was using 3 yet.

  • GravitateMediaGroupGravitateMediaGroup

    This software works pretty good. I use it with Sony Vegas. Plural eyes 2 works on windows machines and you can find if you do a little searching.

  • peternappeternap

    Thanks @Soundgh2 ! Turns out it's a moot issue anyway. It isn't available for Windows yet.

  • soundgh2soundgh2

    Not loved much by production houses we have studios in - mind you all their moire ridden shallow DOF 90s looking footage is always out of sync ;p

  • peternappeternap

    I'm thinking of upgrading today. Has anyone used PE3 yet?

  • DrDaveDrDave

    You can reset the sync on every cut so it is perfect, you just have to slip the audio under the fade.

  • TheNewDealTheNewDeal

    Also remember, if they are not timecode capable cameras, they also are not likely video reference resolved cameras. So every camera will have a little different sound relationship. It's a different frame alignment between every camera on every take. Which will all be slightly out of alignment with any audio recorder on set. So every take, on every camera angle, on every camera, and the audio recorder will all have different audio sync relationships when not using fully resolved cameras. When you get to post, just expect every cut will likely be a little off and you will not be able to fix all of it in any frame accurate video workstation. Even with those latest wiz bang apps.

  • DrDaveDrDave

    This is a quote from the PluralEyes website "The speed of sound is such that it travels about 1 frame for every 30 feet of distance between the cameras. PluralEyes will sync audio tracks without considering their physical distance, and a simple frame shift can bring far cameras into sync" So what they are saying is, in one word, "ballpark". They also do not mention two other things--the cameras internal offset, and the muxing drift in avi, mts, mp4 files, etc. However, "ballpark" is not a bad thing, it is a handy thing. I can't see using it for say a dozen clips, but if you have piles and piles of clips, let the proggy sort it out.

  • DrDaveDrDave

    @brianluce makes a good point which is that the performer may have a different idea of what "sync" is. Even with a harp player, where you can see the string released from the finger, some musicians will intuitively feel, rightly or wrongly, that the sync is off. It is important to ask, since they may not volunteer, about the sync. To me, about 80 percent of the music videos I see, the sync is slightly off. That's a pretty big percentage, a huge percentage. I do have a hard time believing that the clapper lies, however. In my experience, using a jar or clapper, the MOST you can be off is one frame, and of course you often have the peak in the middle of a frame, so then you are looking at frame splitting. In the case of the piano, unless you are videoing the actual hammers, you can't really tell from the key depression--although the sync cannot be more than a frame (1/24 sec) later than when the key hits the bottom. In this way, it is different from harp, guitar, etc where you can see the string begin to vibrate.

    I would like to see someone take two cams, one in a balcony (or at the end of a hall) and one close up, and see what PluralEyes does. If the software does perform some sort of magic, you will immediately see the result, yes or no. If it simply matches wave forms, then it will be visibly off. If it really works, I would consider using it, and I would not care how it accomplishes this seemingly impossible feat :)

    Splitting frames: if the sync is off by a "fraction", you can cut the audio out and remove one third of one frame. Then drop it back in and you can then tweak it below the division of the frame sample. Usually, a third of a frame is as low as you need to go, although you can of course shave samples if you really have spare time.

  • brianlucebrianluce

    Another thing, I do vieos for some pro musicians. I used to hand sync like Dr. Dave but one pianist said the vid was out of sync, I looked at it over and over and it looked and sounded synced. She insisted it wasn't, that it was off by a fraction. So I tried plural eyes and she was happy with the sync. YMMV

Add a Comment