Workflow for syncing uncut audio files to a complete cut?

Hello,
I've been working on a narrative project (about 30 mins). For various reasons, I was unable to sync audio before editing, and have now done all the cutting with camera audio. We recorded separate audio on a stand alone recorder, and now I want to sync it to the project in CC. There is one audio file for each night of shooting, so the audio is in these giant files not separated by take. Can someone advise me as to the best workflow for this? Clearly it would be possible to do it manually by cutting up the audio files, identifying the proper audio for each clip and lining up waveforms, but this would be incredibly time consuming. It seems that there should be some way to use either Plural Eyes or the new audio sync feature (which I don't have experience with) to sync audio automatically, but I'm not sure how to do this.
Thanks for the help.

If it was my task, and I didn't have the recorder files in advance of having to edit, I would probably jot down on a notepad the in/out timecode from the camera for every cut.
I would then take the recorder audio and sync it up with the original camera audio on a different sequence. This might prove a lot easier than trying to do it in a bunch of steps by waveform.
Once I had it all lined up, I would make the razor cuts at exactly the same place as the timecode I jotted down on the notepad. Then I would delete all of the audio portions that I didn't want to keep. I would then copy over the audio track to the original sequence and line of the audio with the original sequences cuts, once again using the notepad to keep track of the places where everything fit.
Painful? Yes, perhaps. But easier than trying to sync up lots and lots of clips.

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Work flow for syncing separate Audio files with Video files in FCP

It may be too late for me to use this workflow that I want with my current project, but I need to figure out what it is anyway for future reference.
Right now I'm editing a movie which is near completion. When we recorded the movie, the camera's deck recorded reference audio from the sound guy at 48k @ 16bit. This audio also went through an additional set of preamps which added a small amount of noise. So we don't want to use the reference audio because of it's low resolution and less clean audio. The sound guy recorded straight to his deck at 48k @ 24bit, besides the better resolution, his audio is noticeably better.
The camera deck and 'clapper' (I think that's what you call it) were not connected or synced. So the video files and the soundsguy's audio files are slightly different lengths, but at least have a 'clap sound' to manually sync to. And I don't mean that the audio and video files won't play in sync with each other, I mean that the soundguy always started recording before the camera, so his audio files have slightly different start and stop times.
Could I have synced the audio files with the video files before I started editing this project? If so, could it have been in the way that the soundguy's audio would be connected to my video files while editing? What would that procedure have been?
My current workflow right now is I have my finished sequence, I change the bit rate to 24 in Sequence Settings, and start manually dragging the soundguy's files to the sequence for every little edited clip. This is going to take forever, there are 99 scenes in this movie. Anyway, at the end of the day these sequences are exported as .omf files and imported into Pro Tools for audio post production.
I was not thinking to figure this out before I started editing the movie, this is unfortunate, a newb move in a decent production.
Anyway, I don't know if there is a standard for this situation or if I just opened up a can of worms for many possible workflows. Please comment if you have experience in this area or please refer me to any reading material.
Thanks for your time!
-Monty

The normal workflow (besides manually syncing up before editing!)
is to have ' some ' way of auto syncing the clips.
So you must have common timecode.
With external audio, you can slave the cam's TC to the TC output of the BWF recorder.
Then you can use BWF / QT merge (one of my apps) to sync them, or use Sync 'n Link.
(another third party application)
If it is not possible cause you're shooting with a cam without a TC input, you can record the TC output on one of the audio tracks of your cam, and use FCPauxTC reader to decode the beeps and translate that to QT TC, and again use the former tricks to sync them.
It is difficult when you have never done it, but very easy once you get the hang of it, and it saves a huge amount of time to do it right from the start.
Have a look at the FCP aux TC reader here:
http://www.videotoolshed.com/?page=products&pID=26
Sync 'n Link can be found here:
http://www.assistedediting.com/Sync-N-Link/
/// disclaimer, i AM the owner of Videotoolshed, and i WILL (at least try) to make money on it. ///
/// i do NOT have any relation with AssistedEditing.com, besides friendship with the owner. ///

Audio bug with WAV files: use mp3, not wav for syncing long audio files

Just a tip:
I've noticed another audio bug in Presenter (including 7.05) but there is a workaround. I often export the audio as a single, long clip from pre-recorded lecture videos, and sync it with the powerpoint slides in Presenter. I've found it easiest to import the long audio file into the first slide, then sync using the Edit Audio window. I find that much easier to use than the Sync audio window.
However, If you use WAV format for the imported audio file, sometimes Presenter will simply refuse to play back anything beyond about 5 minutes into the timeline in the Edit Audio window. Nothing fixes it - restarting, re-importing, etc. However the problem goes away if you save the audio as mp3.
Ellen
http://thedesignspace.net

Why did you post this in the LiveType forum?
I would recommending posting your question in the Final Cut Pro forum.
Have you tried trashing your preferences?
Anyways... here is a thread with a similar problem:
http://discussions.apple.com/thread.jspa?threadID=656515

Fixing duplicate database entries for the same audio file

My iTunes Media folder is stored on a network accessible storage server. Since upgrading to 11.1.x, my computer seems to be duplicating database entries for the same audio files - for some albums, I have 4 entries for every song, each one pointing to the exact same file. The only difference between entries is rating info and play counts, which are specific to a particular entry (I think). Has anyone else seen this behavior? Is there an obvious way to stop this from happening? I can delete and rebuild the database from media files, but that starts getting old if I have to do it every week or so. Is there a script to delete duplicate database entries? (I found a VB script on the iTunes for Windows community, but the offending machine is a Mac).
Thank you for any assistance!
K

Select the photo stack under the People tab and click the rename icon (bottom left)

HT1296 itunes won't sync my audio files after I upgraded my iphone to i0S 6

I upgraded my phone to iOS 6 for the new features and could no longer play (or find) my audio books. The disk space usage indicated that the files were still there but the music player would not show or play them. I try to sync to iTunes Library and it fails. I upgraded my Mac OS and my iTunes versions to the current version and still no luck. Incidentally I also notice that when I try to make a purchase of new audio files through iTunes directly from my iphone it also seems to hang up. Occassionally after a couple reboots it may download but still shows my audio library as being empty.
Not sure where to go from here...any suggestions?

OK, this is weird/interesting . . . just now, syncing my iPad, I noticed that under the Music tab there were no syncing options available, just a message that said "iTunes Matching is on." I'd turned it on yesterday, in the Settings, just messing around trying to troubleshoot the audio file sync issue.
iTunes Matching didn't solve the problem, so I turned it off. Then resynced the iPad again from scratch. THIS TIME everything synced! Every single audio file, every playlist, everything.
So that's odd, right?? I mean, I'm happy that it's working, but I'm not sure why it didn't work to begin with, nor why it's suddenly working now. So it's good, but a little unnerving . . .

Sync multiple audio files with RED files using timecode

For a prodject i need to sync 100+ RED files with 100+ audio files. The RED camera and the external audio recorder are locked by Timecode.
Now i know the option to sync the files with merge clips. But this option works only for one clip at the time! And i have a very shot deadline.
Is there a faster way to do this in PremiereCC??

Not yet.
Adobe - Feature Request/Bug Report Form

Best practices/workflow in syncing multiple audio tracks to a clip

Hello
Master Collecition CS5
I have a couple of webisides that I'm editing.
Each actor had their own wirless lav microphone recording to an external audio system that recorded wav files.
And the camera was also recording audio.
We also had a clapboard that marked each scene. The camera and the external audio recording system all captured the clapboard information.
I am replacing the camera audio with the wav tracks from each lav microphone. For the most part when Actor "A" speaks I use Actor "A"''s lav wav. amd when Actor "B" talks I use Actor "B"''s wav file.
The timeline is already fine tuned and I don't want to have to extend the beginning of each video clip on the timeline so that I can sync it with the clapboard.
I've tried a number of tricks including a separate sequence just for syncing up sound. But it doesn't seem really practical or time efficient.
I was thinking that maybe I should be syncing up the clips in soundbooth. I see that when I right-click on an audio trick I am given the option to "Edit in Soundbooth".
Would incorporating Soundbooth into my work flow speed up the audio syncing.
I hope I am being clear!
Thanks
Rowby

I personally wouldn't mess around with copying and pasting timecodes. Yes, that'll work, but it's going to take more time than is really necessary to accomplish what you need. This is how I'd do this, though note that it's going to require some manual effort, no matter what:
In your sequence, move the CTI to the in point of your clip's audio portion; make sure the track that that clip is on is targeted. Hit the M key, which will match frame the clip and load it into the Source Monitor. Don't double-click the sequence clip to load it; you need an independent reference (e.g. the original master clip) for "measurement" purposes.
In the source monitor, press O to mark an out point before you move the CTI. Now, move earlier in the clip until you get to the clapboard, and park the CTI on the frame where the "clap" happens. You could also toggle over to waveform view to make this easier (I've actually mapped Composite Video to F3 and Audio Waveform to F4 on my keyboard to make this a quick and easy toggle). Mark an in point (I key), and take note of the in-out duration in the lower-right corner of the source monitor; it's the white numbers. For this example, let's say those numbers read (for a 29.97fps clip) 00;00;05;00, or five seconds.
With that number in mind, load up the matching audio-only clip into the source monitor, and move the CTI to the "clap" which you should see pretty clearly in the waveform. Once the CTI is postioned, you need to move the CTI forward the number of frames/seconds that you noted above... minus one frame. So, on your numeric keypad, type a "plus" (+) and the digits 429, or 4 seconds 29 frames (obviously this will depend on your sequence/source frame rate; one second less one frame in a 23.976 timebase is 23 frames, etc.). Once the CTI is positioned, hit the I key to mark an in point, and then drag the audio to the sequence; hold the Alt key and drop it onto the audio portion of the clip you're replacing. This will map the original audio's in point to the replacement audio's in point, and maintain the duration of the original sequence clip.
The reason you need to go one frame less is because when you mark an out point on a clip, you're actually placing it at the "end" of the current frame you are viewing, not the "beginning." You can see this in action if you park the CTI at a given frame and mark both an in point and an out point without moving the CTI; you end up with a selection duration of 1 frame. As such, you need to offset this duration when backtiming and then applying the duration to the replacement clip. It'll make sense after you do it once.
I know that sounds like a lot, but I was just trying to be as detailed as possible. Hope it helps...

Separate drives for samples and audio files..?

Hello all
I am moving to Macbook Pro (previous gen) with Logic Studio after years of PC (feel like I’m standing on the edge of a precipice staring anxiously down!). Will be looking to use it live in our 3-piece band to run existing MIDI Files and live triggered BFD drum samples
Have decided on getting an Echo AudioFire 8 to handle the necessary Audio outs and MIDI connections and will be replacing our rather dated Korg 05R/W General MIDI module with virtual instruments / samples libraries
I am thinking that once the Bass (probably Orange Tree CoreBass samples through Kontakt 3) and Orchestration (still wide open to suggestions on that!) are done, they’ll be exported as Audio files or perhaps ‘frozen’ in Logic to ease the load on real-time processing
Here’s the query then:
*Assuming that the internal drive will be for OS and programs only, will having the sample libraries and exported audio song files on separate physical drives from each other pay dividends – particularly when considering that the audio tracks (probably no more than two or three stereo files) will be streaming whilst BFD is triggering live samples via MIDI input..? I’m wondering if the samples and audio separate drives situation will be considerable beneficial, or given the intended application, would this approach be merely over-speccing things?*
If that is thought to be the best approach, what do you believe to be the best way of hooking these up? I plan on using the FW400 port for the Echo AudioFire 8 and have ordered a Sonnet Express eSATA Card to hook up an external drive. Should any additional drive look to use the FW800 port or should I simply tag into the spare eSATA port on the Sonnet Express Card..? My concern with the latter is that a bottleneck would occur in the Express port and defeat the whole object
I would really appreciate any thoughts on this
Many thanks
Clive

My opinions:
If you're really only talking about 2-3 audio tracks per song, having them on a separate drive is not going to make that much difference. I'd recommend just using one drive for both audio and samples for now, you can always add another hard drive later if you're getting disk errors, or if you start using more audio tracks.
If you're looking for a good orchestral library, I recommend Vienna Symphonic Library Special Edition (about $500). VSL sounds great, and this particular set is much cheaper and still gives you a good amount of instruments/articulations.
If you do go with a third drive, use both eSATA ports. Even with a little bottlenecking, you should see substantially faster performance than with FW800. The data transfer rate of eSATA is over 3 times that of FW800.
Message was edited by: jdredge

ITunes wants to sync 2 audio files to my iPhone

Hello, recently i've downloaded 2 songs from iTunes store using my iPhone. These songs have been downloaded on my mac as well. After a couple of days i've deleted them from my iPhone using iTunes via wi-fi because i didn't want them to be on my phone. Now, every time i connect to wi-fi in my home network they are put in queue for sync by iTunes even though they won't be synced if i press SYNC. Is that normal?

Restore the data you backed up from your old computer to the new one. It will still need to erase your phone to set up a new sync relationship, but since you will already have restored all your iTunes media, contacts, etc. you can just sync it all back to the phone.
If you did NOT back up your old computer, you can transfer purchased items from your phone to iTunes. You can transfer contacts to a supported address book on the new machine by making sure you have at least one entry in the address book on the computer BEFORE you attempt to set up the sync relationship. You can transfer photos in the camera roll the same as you would from any other digital camera. If you have anything else on the phone (photos, music ripped from CDs, etc.) you're going to have to resort to 3rd party software to try and extract them from the phone. This software is not sanctioned by Apple and is generally NOT free.
The iPhone is NOT a backup device.

Sending Audio Files back to Final Cut pro, nothing.

Simple issue:
I send from Final Cut Pro To Sound track pro some audio files along with the clip.
I edit it in Sound track Pro, and save (just like in the tutorial) then I quit.
I go back to Final Cut Pro and what do you know, the file that I sent HAS NOT BEEN EDITED!
Some one help.

I tried the same thing earlier in the year, and when the sound came back into FCP, it was corrupted!
Since then, I don't know if this is a good option, but it seems to work fine:
Once I have finished my editing in FCP, I export the soundtrack into an AIFF. I edit the AIFF via STP, and when finished, import it back into FCP.
I'm not experienced enough to know if this method is bad, but it has worked well for me!

Optimum workflow for creating an audio-visual from scanned slides?

I'd like some suggestions as to the best workflow to adopt when generating an AV from scanned slides. I'm transferring my 3-screen audio-visuals from slide format to Blu-ray. The slides are being scanned on a Nikon Coolscan, and after editing end up as ~100 MB, 5400 x 3700, Tiff files with seven layers. These files are then archived, separate from anything I do with them in Premiere. They'll be imported into Premiere, along with the original soundtrack, and eventually output to Blu-ray disk. Then I hire the local cinema for an evening or two, let the word spread, and we reminisce and party!
I realise that pre-conditioning the images – flattening, cropping, down-sampling to a suitable size – would be a good approach, but I'd rather avoid that if possible for two reasons: (1) so that I only have one image to keep track of, instead of the original and a Premiere version; and (2) if I decide to edit colour or contrast I can do so non-destructively on the original. The latter is an important consideration. Images may be used in more than one project. If I decide to alter the look of an image (not because of the look of the image within a particular project, but because I decide the original edit was inherently flawed), it would be better to alter the original and have that change reflected in all other uses of the image, than to alter, say, two copies of the image plus the original.
A finished AV will range from 30-400 images. The longer shows will be broken into sequences of no longer than about 20-30 images. These are some of my concerns:
Cropping
The scanned images include a small amount of the slide mount. That way I know I've scanned the entire slide. So that has to go. And given that slides are 3:2 and Blu-ray is 16:9, something else has to go as well. I've been through most of the Premiere PDF but have yet to come across a cropping tool. I know how to position, scale, rotate, but how do I crop? Scaling is not a substitute because I may want certain images to not fill the screen and not show the slide mount.
Flattening
Will layered Tiff files cause difficulties in Premiere or Encore?
Resolution
Will 5400 x 3700 files (versus resampling to 1920 x 1080) have a serious impact on the time in takes for any part of the process from importing into Premiere to encoding in Encore?
Image Order
Is it better to order and renumber images using Adobe Bridge, or should I just shuffle images around in Premiere? Working with Premiere alone would have the advantage that I can import the originals (if that is an acceptable workflow).
Packaging
When a project is finished, I want to package all the assets via Project Manager and archive them. And I'd rather not archive 100MB image files. Now, this is going to be a big ask, and I'll have to jump across to InDesign to explain. When I've used scanned images in InDesign, I link to the original 100 MB files. No problems whatsoever. Come archiving time, I package in one of two ways: use an InDesign script to crop and resample the original images, and then package; or I simply export to PDF, and during the export all images are automatically cropped, resampled, and saved within the PDF in whatever format I choose. A simple and elegant archive.
Does Premiere have the ability to crop and resample the stills it uses, and either overwrite the original or save as a new file?
That question has just made me think: if I do need to crop, flatten and resample before importing into Premiere, or for archiving, maybe I should be mocking up my Premiere projects in InDesign set to a page size of 1920 x 1080. I could drag in all the images, then shuffle, crop and size them. When I'm happy with the sequence, I export as jpegs, and get the cropped, resampled images that way, ready for Premiere.
Any comments most appreciated.

Your last paragraph makes the most sense. Although a script in Photoshop would easily do what you want.
Before you resize them, make sure you don't really need to pan across them. Resizing down to around 4K or so might avoid problems.

FCX & Compressor 4 - output audio is hiss for older video/audio files

Hello - I'm using FCPX and Compressor 4. I'm compiling video files that go back to thirteen years old. FCX has been handling the files very well. They all look and sound as expected in the viewer and project playback. I've mixed the audio with an additional soundtrack and am happy with the results. However, when I move the project to Compressor (or even if I export it using FCX) the older files look as expected, but have a terrible hiss. All other audio is filtered out or overwhelmed. All the newer files sound just fine. The file types are a mix that were captured using over a dozen different digital cameras.
Can anyone recommend an appropriate audio output setting that might alleviate my problem with hiss? I've searched all over, but don't see any similar question.
thanks!
Alex

Below are screenshots the Quicktime Inspector and FCP HUD for two of the troublesome clips. They play and sound fine when previewing in FCP, it's just the saved files that sound terrible!
I removed the soundtrack and exported to Compressor. The resulting file had hiss for all of the same offending clips.
Thanks for your help with this frustrating issue.

Sync different audio files from mics and cams

Hey all,
I recently recorded a performance using 2 cams and 2 microphones. Hence, I have 4 audio tracks of the same performance.
Is there any function within Logic Pro X that allows me to quickly sync all these tracks, rather than moving them around until they match?
Thanks!
Z

Export each track as a separate AIFF file.
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Once you have both tracks running in sync, use this opportunity to separate your two tracks into four by selecting Sound>Split Track. Now you have 4 separate tracks that are now in sync.
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Looked at this, but did not see where you could leverage an existing song purchased from iTunes and insert an audio recording or sound effect in the file.

Make video in sync with audio file

Trying to make video clips to sync up with stereo music track of a completed/mastered song. How can I record silent vid that is synced up with imported song file? I'm sure I've just missed something but I can't find the answer. Appreciate any assistance. Peace

Do you mean that you want to silence the recorded audio from the video clip so that just the music you have added to an audio track will be playing? Or am I missing what you want?
You can uncheck the box at the end of your movie's video track--far right--that will silence all sound from the videos.
Or you can select 'View>Show clip volume' and click on the volume line of your video clip. Drag the line down to the bottom of the video clip to have no sound on a portion of the video. You can drag the volume around to get it precisely where you want it.

Workflow for syncing uncut audio files to a complete cut?

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