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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
Male 1: Now that we've finished the field process, let's walk you through how you can take the click track and one of the camera angles to sync them up. In another episode, we'll explore multi-camera production, but for now, let's just deal with a one-on-one relationship. Male 2: Yeah, that main camera angle will work just fine for syncing. Male 1: Yep. So we've loaded up here the source track. Let's just zoom in to make this easier. Male 2: Mm-hm. Male 1: And, there is my beep. It's very easy to find. Male 2: And this is the last beep right before the song begins. Male 1: I'll press M for marker, to add a marker for syncing purposes.
And then I need to load up my video angle, so, we've got that and let's just find. We'll put that into the track down here and we'll just cut that into the audio. Which is great. I'll actually drop that to a lower track, and then I'll load up one of the performance takes, which is right here. Looks like it's the same song. Male 2: Yep Male 1: Let's just take it to the beginning. Male 3: And go. Male 1: There's our producer getting the slate for all our cameras, and then he's going to start the click track. Male 3: Boom still in.
Male 1: So, let's switch over to the audio wave forms. Male 2: Mm Hm. Male 1: And this looks to be the song, there it is, and so this is probably the last beep right about there. Yup. Male 2: Yup. Male 1: M for marker. Male 2: Yup. Male 1: So now, we'll just put that into the timeline. And with both of those, let's just patch that, that looks good, going to video one and audio one. We've got our tracks. Male 2: Yep. Male 1: And I could select those two and right click and say, synchronize. Male 2: Yep. Now the thing about this, Rich, too, is that it doesn't actually matter at this initial stage.
Where things are positioned on the timeline in, inside of Premier Pro anyway. You can literally just throw them on the timeline, and the Synchronize function does, well, kind of what it says it's going to do. Male 1: Yeah. Male 2: It synchronizes them together. Male 1: And one of the choices here is the Clip Marker. So if I pick that, and I say OK, notice that it lined everything up. Male 2: Yeah, and if you look at this a little bigger, you'll notice that I have some, you know, header that, you know, at the top. Male 1: Yeah. Male 2: At the top of this thing. And that's just where our producer was doing things like at the sleigh, making sure everybody was rolling. And there's a little bit at the end. What you can do after these are synchronized is that you can trim them out, too.
And you know, get rid of that head and tails. Male 1: Yeah, so I'll just turn this audio track off. I'm just going to mute that temporarily here and we'll just play this and you're going to see that the lip sync portion is going to line up. Let's go to some vocals. Male 1: Definitely lined up easy enough. Now that's the manual method of adding markers and that's why you have the beeps which is fine. And you could actually do the same sort of technique we've talked about synced sound before. Male 2: Yep. Male 1: Where you have the clapboard. And it's really just an iteration of that.
The good news is, is that a lot of NLEs are now getting audio auto-sync. Male 2: Yeah, it's this crazy magic function that a lot of NLEs are having. And it's actually, you know it seems like magic, but behind the scenes what it's really doing is that the NLE is comparing the waveforms of two different audio tracks. In this case it would be comparing the waveform of the studio recording with the waveform of what we did in the field. Male 1: Yeah, so if I take this video track here, and I'll just actually drag this audio file in, so I've got em both there.
Male 2: Yep. Male 1: I can select both files. This is the performance, and this is the audio. I'm going to go ahead and just merge these clips in this case. And what I want to do is say use the audio track and get rid of the audio off the original video clip. Now Rob, why are we killing the audio on the original file? Male 2: What do we need the audio for from the field? It was just temporary audio, and actually this is a good point, Rich. Is that when you're out there in the field doing sync tracks like this, you know you're usually so concerned about quiet on set, everybody being silent. That's not, you know? It's okay, because if somebody banged the C stand or something like that.
Don't worry about it cause it's not going to make the final video, you're cutting that audio out anyway. Male 1: Alright, so we've got the angle selected we've got it all set. We say take these two files, remove the audio from the original audio/video clip and use the audio as a sync point. Male 2: Yep. Male 1: When I click OK, it's going to analyze, it's going to process those two files, and it's going to attempt to line them up. Male 2: Yup. Male 1: And as long as there's enough audio on that clip, it usually works. So there it is, it's merged. Male 2: Mm Hm. Male 1: Let's just drop that into the timeline now. There we go. And I'll just remove these other files real quick.
And what it did there, of course there was some more handle like you said. You know it started earlier, if we want we could trim that, I'm just Option+dragging there. Male 2: Yep. Male 1: And now we should have a nice, clean start to the music performance. Male 2: Go to a section where there's some vocals so we'll double check it. Male 2: Yep, looks good to me. Yeah, and this merged workflow is great because it does, sort of, what you would need to do in two steps, with the first way we showed you with this, sort of synchronizing them, then deleting the old audio, and then linking the new audio. With a merged workflow you can sort of accomplish both those things in one step.
And, it's, you know, especially with the new audio synchronization functionality. You don't even have to have any sort of marker points, just let Premier Pro do the work for you. Now, there is one caveat I would say, Rich. Male 1: Yeah. Male 2: Is that if you were in the field, and you have a really noisy situation where Premier Pro was not really picking up, or whatever NLE tool you were using, is not really picking up the music from that reference recording, the stuff you got in the field Sync might not work. You need to have, actually have some good quality audio for the stuff that you're recording in the field. Because that's again how it works.
It analyzes the wave forms of what you've got in the field versus the wave forms of what you recorded in the studio. Male 1: But the good news is, is that the fall back, those beeps, often cut through the clutter really well. So even if the computer can't get enough information to sort of auto do it. Your brain is often better at filtering. And you could go ahead and manually place those markers and force the sync as needed. So in any case, using the click track is pretty straight forward. And here you saw it on a single clip workflow, we'll also revisit it with our multi-camera coverage.
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