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May 2023
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What’s so incredibly sweet about this technique is that the you’ve just created a compound sync’d clip, all before you’ve even created a single project file. The additional audio clip is now stored with your synchronized clip. Close the clip in the timeline by pressing the back arrow located in the upper left of the timeline. The audio clip is immediately connected below the second audio clip, and is in perfect sync, because the two clips are of precisely the same length.Ĥ. Align the playhead to the start of the first audio file. With the clip open in the timeline, select the third audio file. Right-click on the new synchronized clip, and select “Open in Timeline.”ģ. Right-click and select “Synchronize clips” or press cmd-opt-g.Ģ. Select the video clip and the audio track that has the cleanly recorded version of the reference track. I spent a few hours today figuring out how to do this in FCPX, and discovered that the clever engineers at Apple have built an extremely elegant method for doing this and storing it in the clip rather than in the project. And of course, the audio won’t sync to the audio clip of the person on the other end of the line, because only her side of the conversation is in that file, leaving nothing to sync to. So in post, instead of one audio and one video file, we have to sync three files: 1 video to 2 audio clips. During production we recorded these situations on a Zoom H4N in 4-track mode, which produces individual files for each side of the conversation. Then, we create Synchronized clips in FCPX by connecting the video with the audio, and we’re ready to roll.īut occasionally we faced a more complicated situation: phone conversations. Reference audio was recorded with on-camera mic, which we use to sync the clips in DualEyes. On my current film, Beyond Naked, most of the audio we recorded was fairly straightforward, dual-mono, 2-channel recording: lav audio was recorded on the left channel, and shotgun mic on boom went on the right channel.
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