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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: Through the years there's been this great app called PluralEyes. And I actually had the honor of meeting the guy behind it, Bruce Sharpe. When he was just coming up with the idea. He pulled me aside at a trade show. He showed me these crazy things. He had footage of like a soccer game from five different angles and he was like, yeah I, all the other dads know that I know how to edit video and I always have to put everybody's stuff together. Male 2: Mm-hm. Male 1: He showed me this and he was like, look. And he clicks and all the angles line up. I was like. Male 2: Whoa. Male 1: In need that. Male 2: Male 1: I so need that. And it was a multi-cam tool but then we had this whole work flow for Sync Sound and all of a sudden, it was a DSLR tool.
Well, the good news is, is that PluralEyes, which is available from Red Giant Software now, can be used for multi-cam or DSLR and it's really fast. Why don't we jump in and take a look how it works? Male 2: Yeah. So the thing I like about PluralEyes, now in version three that is, is nice, is that it's no longer NLE specific. In previous versions is was tied to, hey this is the version for Premiere or Final Cut, or whatever application you're using. But now it's a stand alone application. And the other cool thing about it is that it create, it can create sort of self-contained merged files.
So you don't have to worry about doing that process inside of your NLE. Male 1: Yeah, if I'm a shooter, and I don't need an NLE, or I don't own an NLE, I could just drag my video files in, in fact I could drag multiple video files in, and then select the audio recorder bin, and drag those in as well. You could drag, or you could click plus to navigate. Male 2: Mm hm Male 1: And in this case, you could put in hundreds of files, the whole day's worth of shoots. Male 2: Absolutely. Male 1: And you just get them in there, and they appear. In this case we just have two clips. But when I am ready, I click synchronize.
And it analyzes everything, and it was that quick. Male 2: Absolutely. Male 1: I know that was very anti-climactic, but it was actually done. Male 2: Well, do me a favour, Rich, go up to the Sync menu for a second. Male 1: Yeah. Male 2: And, in the Sync menu, there's a couple options I think are, are pretty interesting. First, you can try really hard. Male 1: Yes. Male 2: This is the best name for a feature. Ever. Try really hard. And what try really hard's going to do is actually go and analyze those clips, those waveforms, a little harder, being a little bit more precise about how it lines things up. because every once in a while, you'll get some stuff that slips or, it, it ties it up with the wrong audio.
Male 1: And, and the level audio feature is off by default. This doesn't actually change the audio in the clips that output, but it will temporarily boost the audio on your camera angles. So if you recorded sync sound and the microphone on the DSLRs themself was really low. This will boost it to make it easier to align things up. And that's just really useful on those cameras. The Sync to Change Clip Order is also possible if you put clips into the timeline, and you actually have that. But that's more when you handed of from the NLE which we will look at in a moment.
Male 2: Okay. Male 1: Now you have the ability here to actually look at two up view, which makes it easy for you as you drag through to see things. And that's more so if you had multiple video angles to sync them up. Male 2: Yeah. Male 1: But on the right here you can actually see both audio wave forms. Male 2: Mm-hm. Male 1: And you can tell, yea that really does look in sync. Looking at those two wave forms, look at the spikes are in the same spot. Male 2: Yeah. Male 1: So if I feel good about that, I got a couple of choices here. I can either write new files or I can export my timeline. So when I click, I could choose to go to any tool I have loaded.
Now, I don't have Media composer on my system. Male 2: Mm-hm. Male 1: But Media composer is an option, and that's one that's newer. I could choose Final Cut Pro X or Final Cut Pro. I can go to Premiere Pro and it will actually generate an XML that you could then hand off to the Editor and they'll import it and everything syncs up. Male 2: Right and a great feature here, if you check this little box right there. Create a sequence with the audio content replaced in the video clips. What this does is do those steps that we did previously in Premiere as well as Final Cut where we got rid of our reference file.
So we replace that audio with just the high-quality reference audio. Male 1: And I can create multi-cam if I was doing that, and it can actually open the event automatically in Final Cut X. So very straight-forward, the other thing that really stands out is the ability to make new media files. So this allows you to go ahead and say alright I'm going to put this over, make a new copy of the video files. The audio's going to be replaced. And that works great. And here I can actually trim it if I wanted to to the corresponding video files. So it's going to move those two across. I think that's good. I click export.
It asks me for a new location. I would recommend that you make a new folder. Target it, and then on export there, you see that it actually put it out there. Male 2: Yep Male 1: So it set export completed successfully. I can see everything else. It has a log of past exports that I've done. And you might have a hard time finding that. Now there is an actual log. So after you do that initial export and you spit it out, one of the things you need to realize is where it put it. Male 2: Yeah, so in the case when you copied the files and trimmed the files it's putting the video and the audio in one place but it actually put the XML file in an other place.
Easy way to find it, simply right-click on it. Say Show In Finder. Male 1: Yeah, and there it is. It's buried inside of your Documents folder so it keeps it organized on your system. You can move that wherever you need to. I'll just go ahead there, grab that, and I'm just going to put that out to my desktop real quick. And in Premier Pro, if I want to grab that XML file and import it, it's going to pull it in. It's going to make a new bin. There's everything. There's my synced sequence. Male 2: Yep, and that's the original sync, the same timeline that you saw over in PluralEyes.
Notice that we have all of our tracks still in place, they're still heads and tail at the end of, you know sections where it didn't line up. Male 1: And then we actually have the one where things have been replaced and it trims it. Male 2: Absolutely and then you also have all your original, media in there as well. Male 1: Yeah, so now that we've got this here and I could be actually in Premiere Pro, there's some great integration from NLEs to PluralEyes as well if you want to offload that task. Maybe you want to do a really complex multi-camera sequence. It's super easy. Let's take a look at the Premiere work filow. Male 2: Yeah, so you set up another sequence here and you've just again sort of willingly thrown some of these clips onto a sequence.
And all you have to do is simply go up to the Window menu and Extensions. When you install PluralEyes you have the option of installing this Premiere Pro extension for PluralEyes 3 And if you choose that, this window's going to pop up and say, hey, you know, before I can do anything, please just save your project. Male 1: So we'll go ahead and hand that off. Male 2: Mm-hm. Male 1: It sends it in, PluralEyes is launched. It may want to automatically sync for you, and if not, you can choose to synchronize it. It did a good job there. It looked like it guessed correctly. And when I click, export timeline, it's actually going to quit the application and send the project back to Premiere for you.
So you don't have to do any extra work. It actually just handed it back off, made a bin, put everything into it, opened up the sequence for you, with everything lined up. Male 2:Yeah, it's really, I mean, I gotta tell you, Rich, it is one of those things that I maybe use this term too much, but this one I'm convinced on. It's kind of like magic. Male 1: Yeah it does a great job. I've known this company for a long time. They've really built a good product. So I think both Final Cut Pro X and Premiere Pro have some very good ways to sync. If you have a lot of syncing to do, or you're going to introduce multiple angles, I think the streamlined workflow PluralEyes is really worth it.
Male 2: Yep. Male 1: Well, from Lynda.com, my name's Rich Harrington. Male 2: And I'm Robby Carmon. Male 1: Be sure to join us each week, where we take a look at both using your DSLR camera as well as production techniques and post-production techniques to get a better look.
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