- #Using pluraleyes 4 with avid how to#
- #Using pluraleyes 4 with avid pro#
- #Using pluraleyes 4 with avid software#
#Using pluraleyes 4 with avid pro#
Unfortunately, there’s no such integration available for my favorite editing software, Final Cut Pro X, but thankfully you can still import an XML file into PE4, sync, and send it back to a new FCPX project. XML data can be imported to or from Adobe Premiere CC and Final Cut Pro X, or you can drag-and-drop raw footage directly into PluralEyes 4 to sync prior to editing. Red Giant has practically made the UI nonexistent here, and better yet, the entire process can now be performed directly from a panel inside Adobe Premiere CC without ever opening the standalone application.
PluralEyes 4 addresses two minor limitations I’ve noted in the past: Earlier versions often required a bit of fiddling for best results, and could only be performed within the application itself.
#Using pluraleyes 4 with avid software#
The software analyzes sound recorded on two or more cameras, then slides clips into rock-solid sync automatically, ready for editing. There’s simply nothing else like it on the market. I’ve reviewed this utility twice in the past for other publications, and the technology is nothing short of amazing. The simplicity of Offload spills over into PluralEyes 4, the only application in Shooter Suite 13 to get a complete overhaul, and what a wondrous change it is. Copies are compared against the original as they’re being processed to guarantee an exact duplicate has been made before the media is erased and reused. With Offload, it’s a simple matter of connecting a media source, selecting where you want to copy the files to, then choosing an optional second location as the backup. This software effectively replaces the former BulletProof, ditching the more comprehensive but often cumbersome user interface for a more streamlined solution. Although previous versions offered additional features-noise reduction plug-in Denoiser II and color utility LUT Buddy, which are now exclusive to Magic Bullet Suite ($799)-the current lineup focuses on four tools.įirst introduced in late 2014 and available separately for $99, Offload is a lightweight application used to copy and backup footage in the field, regardless of which camera, media type, or format it was shot with. While they offer standalone versions at higher prices, those on a budget can save big by purchasing one of several packages, which bundle applications and plug-ins into relevant themes.Īs the name implies, Shooter Suite 13 ($399) is intended for users who need to ingest footage shot on location and prepare it for editing. Red Giant is a company known for innovative software designed for filmmakers in the digital age. So do come on board and help me create the best Audio sync software possible today.The crown jewel of Red Giant’s Shooter Suite 13 is PluralEyes 4, which makes syncing footage from multiple cameras drop-dead easy.
#Using pluraleyes 4 with avid how to#
I am adding a tutorial on how to use it with Avid below so you can have a go yourselves.Īs we are really early with this, anyone messaging me directly will get a free trial license, and for those willing to create a review of the app, I am prepared to offer perpetual license free of charge. Currently, after the Plural Eyes dropped support for Avid Media Composer, it stands as the only software able to synchronize clips from Avid Bins. Nowadays, there are features in most apps allowing automatic sync, but they are nowhere close to being fully functional. One can't ignore the timecode setups as well, but they never got very popular, and were prone to errors and at the end editors still manually synced the shots themselves. I used it, and it was really something that changed the workflows of so many in the industry. Much later, Plural Eyes changed the whole thing, it worked like magic. The syncing was still done based on clapboard and every single shot was still synced manually. Then came software editing, and audio sync still didn't change that much. It was painful, hard and something only the very old film fetish editors cling to as something worth remembering. Long time ago, when we used selotape and cutter, we were used to manually syncing Nagra recorded audio to film. Regardless whether we talk about docs, features, reality shows, a great team knows that external recorder & great mics will add so much more to the scene. Most of the crews use various setups but the bottom line is, you must record great audio to get a great product. Dual audio is a must when doing primetime / film shoots.
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