Hello, all!
In relation to synchronising audio to video, I have a method that may appear cumbersome to some or most people on this forum, but it has worked for me. I use ithis method in PD14 and my other "
Voldemort" version(the version that shall not be named... because I referred to it often in the past - ha-ha). I'll assume we're trying to sync two different views of the same event, shot on separate cameras(of course, Duh!). This info is based on recent editing I've done where I, and a friend of mine, shot video of steam locos coming into a station. For the purpose of explanation, I'll call Video Track 1 the "master" and other video tracks as PiP tracks. So here's how I did it:
1) I put my clip on the master video track and noted its length in minutes and seconds(also trimmed of any excess frames beyond an exact number of minutes and seconds, but that's optional). Listened to the track for any stand-out sound(steam whistle, perhaps) and noted how that sound showed on the audio track, that was my audio cue.
2) I then put my friend's clip of the same loco coming into the station, so I could hear his track in detail, I temporarily muted the master's audio. I then listened for that same steam whistle, and split the clip at that point, deleting the part before the split. I then cut the wanted part of the clip, using Ctrl+X, un-muted the master track and listened again for the steam whistle.
3) On finding the point where that whistle sounded, I put the scrubber just ahead of that point, then, with Ctrl+V, pasted the friend's clip back on to the PiP track. As luck had it, it matched up perfectly.
4) The bit of my friend's clip which I deleted ahead of the whistle for syncing purposes, was not entirely lost. By "grabbing" the starting point of the clip, I could drag it back out to its original starting point with the whistle sounds still perfectly paired up in sync with each other. If my friend's clip ran beyond the end of mine, snip-snip and the extra bit ends up on the "cutting room floor".
5) Bringing the PiP clip into and out of view can be done by simple fade-in & fade out in Modify, but because I can put transition effects on the PiP tracks in PD14, and no doubt versions PD9 through to PD13 allow the same, this allows for some really stunning tricks for introducing the PiP image, or "inset". and equally stunning for its exit. For this, I used a colour board of 8 seconds, white, because it's a neutral shade, rendered transparent with the Chroma-Key, copied so it could be pasted in behind the PiP. The transitions I use are 5 seconds long. At the point where the inset is to appear I drop a transition into place but as a cross, not overlap(overlap will take the inset out of sync, cross retains the sync). At the end it can be overlap or cross. I used Swing for the into and burning for the exit, and because the inset was at bottom-right, the swing made it appear like a gate swinging closed. It looked truly brilliant, even if I do say so myself!
6) If you do use the method described in paragraph 5, experiment a bit, look for a transition that a) doesn't give a momentary still-frame, as the intro needs to be a cross transition, and b) doesn't affect the background(main screen image).
Well, there you have it, hope the above gives a few ideas for when you get that "
syncing feeling"!
Cheers!
Neil.
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Apr 07, 2016 05:36