The problem of audio sync between an audio track captured as an audio file and video tracks captured by a couple of cameras has been an ongoing problem. After about eight minutes, the sync is noticeably degraded even after starting out tight.
The sync is not perfect for "Hey Baby - Lasers" and it's not far off, it's just not precisely tight. That aspect is not my biggest concern because the problem is whether the audio and the video end at the same time.
Changing the frame rate for the Final Cut project to 29.97 fps for importing the audio track made the difference as subsequent import of multiple video clips synced tight for total duration of the track.
It's the tight sync to the primary audio track which is the objective. You can see my fingers moving but the audio from the guitar is not coming from the camera. However, my fingers move in sync with that audio. Therefore, the primary audio track must be synced with the audio for the video track and the best way I've found for doing it is matching the audio waveforms. Depending on the magnification, the patterns in the waveforms will make it clear what was happening. Lining up peaks will get an excellently tight sync.
After you get the sync between those two audio tracks, detach the audio from the video and then chuck it, unless you use it for ambience or some such.
Load in your next clip and repeat.
Do the above before you blade anything as you will never in an Ice Age of trying achieve any audio sync after you start editing. If you get non-linear, so will the audio. In this you have to take the steps.
Once you have the audio synced, you can slash the video to whatever level tickles yer cockles or so. There's still one concern, tho: if you blade a clip, now you have to be meticulous to blade all of them at once or you will throw out your audio sync again.
Nailing that problem is huge. Maybe you saw previously in which I said the audio is synced and the problem is solved. Then maybe you watch the video and think, hey, that isn't solved. In fact, it is, tho, as the primary problem was getting the duration right and I'm positive that's nailed.
Some may question the nature of the audio insofar as it should be studio clean ... but I ain't a studio musician. I've been (mostly) a garage band jammer forever and I've loved it. The stage is a grand feeling and you get god-like powers but there's nothing to touch being all blowed-out with the band at three in the morning in the garage and playing whatever comes, all the while hoping it's not cops.
That's why I never called the cops about the guys across the street. It's a wussy thing to do but more than that it's because cops have so many times been called because of me. I know it was poetic justice but, man, you don't know how loud they got that kit cranked. Who knows what kind of boost they have on that bass but it easily shakes every window in the house. Everything's been very cool since our little powwow and, whew, I'm sure glad of the quiet. Noise is grand but that was an artillery bombardment.
So, noise is part of it. The garage band signal will never be perfect as somewhere there's a bitch of a ground loop (i.e. low buzz) and no-one can find it. Stuff like that makes it real ... at least, for me.
Maybe that sounds nostalgic but I don't see that. What I see is the rawness of music coming from that period. It's never perfect because these are boys who will try anything to find that sound. If that means using a peanut butter jar for a click track, they will do it ... and they will make it work. What's more, they will make it cool.
I keep threatening to bring in the cowbell but (sob) I never did it ... not yet, anyway. It could actually be cool in a "Mississippi Queen" kind of way:
The sync is not perfect for "Hey Baby - Lasers" and it's not far off, it's just not precisely tight. That aspect is not my biggest concern because the problem is whether the audio and the video end at the same time.
Changing the frame rate for the Final Cut project to 29.97 fps for importing the audio track made the difference as subsequent import of multiple video clips synced tight for total duration of the track.
It's the tight sync to the primary audio track which is the objective. You can see my fingers moving but the audio from the guitar is not coming from the camera. However, my fingers move in sync with that audio. Therefore, the primary audio track must be synced with the audio for the video track and the best way I've found for doing it is matching the audio waveforms. Depending on the magnification, the patterns in the waveforms will make it clear what was happening. Lining up peaks will get an excellently tight sync.
After you get the sync between those two audio tracks, detach the audio from the video and then chuck it, unless you use it for ambience or some such.
Load in your next clip and repeat.
Do the above before you blade anything as you will never in an Ice Age of trying achieve any audio sync after you start editing. If you get non-linear, so will the audio. In this you have to take the steps.
Once you have the audio synced, you can slash the video to whatever level tickles yer cockles or so. There's still one concern, tho: if you blade a clip, now you have to be meticulous to blade all of them at once or you will throw out your audio sync again.
Nailing that problem is huge. Maybe you saw previously in which I said the audio is synced and the problem is solved. Then maybe you watch the video and think, hey, that isn't solved. In fact, it is, tho, as the primary problem was getting the duration right and I'm positive that's nailed.
Some may question the nature of the audio insofar as it should be studio clean ... but I ain't a studio musician. I've been (mostly) a garage band jammer forever and I've loved it. The stage is a grand feeling and you get god-like powers but there's nothing to touch being all blowed-out with the band at three in the morning in the garage and playing whatever comes, all the while hoping it's not cops.
That's why I never called the cops about the guys across the street. It's a wussy thing to do but more than that it's because cops have so many times been called because of me. I know it was poetic justice but, man, you don't know how loud they got that kit cranked. Who knows what kind of boost they have on that bass but it easily shakes every window in the house. Everything's been very cool since our little powwow and, whew, I'm sure glad of the quiet. Noise is grand but that was an artillery bombardment.
So, noise is part of it. The garage band signal will never be perfect as somewhere there's a bitch of a ground loop (i.e. low buzz) and no-one can find it. Stuff like that makes it real ... at least, for me.
Maybe that sounds nostalgic but I don't see that. What I see is the rawness of music coming from that period. It's never perfect because these are boys who will try anything to find that sound. If that means using a peanut butter jar for a click track, they will do it ... and they will make it work. What's more, they will make it cool.
I keep threatening to bring in the cowbell but (sob) I never did it ... not yet, anyway. It could actually be cool in a "Mississippi Queen" kind of way:
No comments:
Post a Comment