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4

ASSUMING (and this could be a large assumption) that the Camera and Production audio have matching TimeCode and that the editor hasn't stripped it out in the AVID, you can use the Field Recorder functions of PT using match to Time Code only... You may end up with some clips that have the same timecode but it should shave hours off your workflow. Basically ...


3

Do expect drift between non-timecode-locked equipment. This is common. One way to get around it is to feed the sound from your recorder back into the camera, monitor via the camera's audio/headphones out, then use the sound from camera in your edit. Lots of cables, but fewer posts on forums later if you don't run across other complications. Sync drift can ...


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Unless the recording devices are locked to each other or a common masterclock like a blackburst generator the devices will drift over time. The best thing to do is probably slice and readjust as needed, whether thats by song or a really tiny adjustment part way through each song. You could try a slight time stretch but that will probably introduce more ...


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Maggot's "Assemblerator" or Sounds in Syncs "EdiLoad" both do what you need if you can get an EDL.


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I hate idiosyncrasies like this. First things first: How many frames is it off? Have you asked the director how he rendered? Are you working from his rendered files or something like an OMF? I've had similar issues where the audio will be about 1 frame longer than the video (when going from a Pro Tools audio render to a Premiere video render). Sometimes ...


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I agree with rene. This doesn't sound like a complete redo rather than a chunky re conform with additional work to do with the new material. Products like conformalizer and virtual katy exist to help this process but with some thought, and careful editing practice, you should be able to work through the film. Save a new session as the director's cut, make ...


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sounds like you've got a common mess on your hands. as much of a pain as it is, you'll probably get a better result from going through the reconform steps than from re-doing the entire thing from scratch. There are utilities that can help with this. Maggot Software's conformalizer has tools that can compare edls from the first cut and the second cut - ...


2

Wow.. that sucks ... Where is the assistant editor?! Are they sure they can't go through and matchframe their edit clip by clip to give you the full multitrack audio? Quite standard practice in situations where you havent decided on this audio-conforming workflow. I'm assuming you're having to go through this process because they have cut with the mix ...


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Unfortunately, even if you script a trigger for both apps at the same time they will not reliably be synced, so you are better off planning to sync in post production. This can be very easy if you use a clapperboard or similar- this gives a sharp sound which is ready to line up in any editor ( some will do it automatically ) and takes very little time.


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As long as the time code is reliable and your camera didn't drop frames, it should be as simple as laying them back to back and then syncing the audio. I normally recommend syncing to a point in the beginning and then checking if it still lines up at the end. If not, a couple of factors could be in play. It could be that the timecode is just off from ...


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I don't know of any editor that do this natively, but there are plugins such as the RedGiant's Trapcode Sound-Keys (it has a free trial so you can check it out first) which allow you to this is a fairly easy manner.


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Here is a complete tutorial on how to make it using iMovie '11


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Solution: Send a MIDI SysEx "reset all" message. What worked for me: Download MIDI-OX for Windows or KMidimon for Linux. I use Windows so these steps will continue with MIDI-OX. Start MIDI-OX. Go to Options->MIDI Devices. Select your MIDI input ("E-MU Xmidi1X1 Tab" for me). I actually selected Microsoft GS Wavetable Synth for my MIDI output, but I don't ...


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I would go with the clapper method, I have been using it for some time and never had an issue with it. As mentioned it will drift over time but this depends on clip length. Movies and the such typically contain short clips so the drift wont be a huge issue. If you are shooting something like an interview that may just be one long running shot you may notice ...


2

Depends on the interface. Normally something like this would be handled by a sync cable and a clock generator that establishes a common clock across devices. This is only available on higher end interfaces though. Using an external clock and sync cables is the only way I know of for reliable shared timecode on multiple distinct devices. Your other option ...


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It depends on how the "length" is measured. Exactly where does a song "end" that is faded out at the tail (as most popular music seems to be)? Or classical music where the venue ambience is included at the end? Also it depends on whether they are measuring from the start to the start of the next song (i.e. including the inter-song gap). It doesn't seem ...


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I finally found the solution, hope it will help someone if I share it, here is what I have done: update the 03 firmware driver (Roland.com website) then some new Input/Output Midi Ports "TB-03" have been created in Live 9/Options/Preferences/Midi Sync (until now I only had the one related to my external sound card). in Output TB-03/Midi Clock Type, choose "...


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Doesn't Live support video loading and syncing in recent versions? I remember seeing a screenshot somewhere of someone's project where he had loaded up a video and was working on the music synced to the video. But this is during production, and not live performance. If you're looking for a solution that works during live performance, you can run a VJ ...


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From what I can gather, it looks like a pretty specialized form of encoding that would need software or hardware designed specifically for writing and encoding the Audio Description information. I don't think such features are built in to Pro Tools or Final Cut. In fact, I could find very little information about any vendors with a solution for this. It ...


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I don't think either FCP or PT can generate LTC in software. Higher-end systems (like smoke) can. The usual trick is to digitize the LTC track from a beta deck or similar, and add that as an audio track in your project. If this is a continuing requirement, a sync-locked hardware TC gen isn't very expensive. Horita has one for under $300. http://www.horita....


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but I can easily turn it into a csv or other format by writing a script to do so. If you are scripting in something like Perl or Python, there are MIDI libraries that are very easy to use. Instead of CSV, grab a library and output the MIDI that you want. Then drop the MIDI file into logic, and you will have your timing data.


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Try using a different Audio input, like Audacity. It's a great microphone recorder and when broadcasting, you can ask the viewers how you sound and change the audio levels and such. If you were to do a local recording, you would have to sync the audio up, but it's usually not a big hassle. Audacity Link: http://audacityteam.org/


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I suppose it depends on how much money you're willing to drop. Also, are looking to record the computer screen video while simultaneously recording the audio? or could you have an existing video track to then track audio to? The last couple versions of ProTools support video in the multi-track audio process. Also Sony's VegasPro line does audio and video ...


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