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Post Sincronization Problems


tonymuricy

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Keenan-- it ought to work--I've done shoots with lots of little takes on multiple 5Ds and PluralEyes synced it all. I think I'd first ask if the scratch audio tracks are good, ie didn't end up ultra distorted or full of RF hash or dropouts, and are at a reasonable level. Next I'd want to make sure that everything is kosher in the frame rate dept.--like was everyone REALLY on the same frame rate and was the edit system project setup properly for that frame rate at the start of syncing? When I've had these issues w/ DSLRs this has often been the problem--shooters not knowing what frame rate they were at, and/or editors setting the FCP project up for the wrong frame rate. DP's blowing off slates didn't start w/ DSLRs, and usually a few problems like the one you are having helps them to understand why they are important.

phil p

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DP's blowing off slates didn't start w/ DSLRs, and usually a few problems like the one you are having helps them to understand why they are important.

I once did a Showtime documentary in the late 1980s (a Jay Leno comedy special), and the DP did just that. After a day or two of post bills, the producer came in and said, "I wanted to see for myself why this is taking so long and costing us so much money." She hung out for a couple of hours watching me work, painstakingly hunting for sync, reading lips, speeding through the sound and picture, and finding a place to lock everything back up. After observing the process, she said, "well, under the circumstances, I'm amazed you can work so quickly!"

She then got on the phone and gave the DP and camera operators holy hell for not shooting the slates, basically telling them that for every ten minutes of production time they save, it costs them about an hour in post (or words to that effect). This was Helen Kushnick, later producer of Leno's Tonight Show, and let's just say she could be extremely direct and explosive when things were not going well. I never had a problem with her.

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