The whole point of editing in DR is to no longer need to use or pay for Premiere, for a lot of us, so I think this needs to be looked at? I'm not a software engineer, but there is clearly something about the Pluraleyes written xml, that Premiere is happily reading correctly, but DR is not. Like others, if I first load the xml from pluraleyes into Premiere, then export a new xml from Premiere, DR happily brings in this new xml, and I'm good to go. The clips have proper timecode and are Sony MXFs shot on a FS7m2. It appears to be some weird timecode offset in the clips affected. If I use Pluraleyes on its own, pulling the media directly into it, sync, then export an xml, this xml results in clips with portions declared as offline, and not lining up with the audio. If I try to export an xml of a timeline and bring it into Pluraleyes - Pluraleyes says there are invalid elements on the timeline and will not import. Namely zero sync attempts have been successful in DR, always resulting in all clips being declared as not having matches AND my attempts to use Pluraleyes 4.1.6 result in the same problems experienced by others. I'm using DR 15 Studio, and experiencing similar woes with waveform syncing. Please upload to Dropbox, or similar, and PM me a link. TornadoTwins wrote:For our videoshoots we use one (or multiple) cameras and a ZOOM H6 recorder for audio.Īre you able to send a few clips and the audio files so we can check it out? Please send the originals. Unless I'm supposed to do something special to make 44.1 and 48 kHz tracks play back properly, it's definitely a bug. But, when zooming in on the Fairlight tab, certain zoom levels make the waveform "pop" out of place. I'm also noticing that the Fairlight tab has much more detailed Waveforms than the Edit tab. Is there a difference in tempo between 44.1 and 48 kHz playback? Although one seems to play much faster, the tracks are still ending at the same spot. The further in the timeline, the more out of sync.īut here's the kicker: the audio tracks are still equal in length. It tries to sync the timeline in the beginning but quickly the audio shifts out of proportion. When selecting ONLY one audio and video clip that are supposed to by sync-able (rather than letting the algorithm figure out which clips need to sync) there are still major problems: The camera audio is imported as 48000 Hz. In short: auto sync based on waveform is quite unusable. In the previous betas it didn't work well either and I'm not sure if Resolve14 was any better. My "work-around" has been to sync audio in Premiere Pro, throw it on one timeline and export the timeline back to Davinci. Here's a screenshot of one of the appended tracks, as you can see, the waveform doesn't match at all: Sometimes it syncs the "clap" sound from the slate as significant audio event but all the rest is wrong. The appended tracks aren't even remotely related. Even though the exact same number of audio and video clips are selected, all of which can easily synced by, for example Premiere Pro. Often times, it says some clips could not be matched. The software does its analysis and that's when the trouble starts. I should specify that the audio from camera and ZOOM are both very clear and audible.Īfter importing the footage and audio, I select all of the clips, right click and choose "Auto Sync Audio > Based on Waveform and Append Tracks". Repeat the steps above for any folder full of DJI MP4 files.For our videoshoots we use one (or multiple) cameras and a ZOOM H6 recorder for audio. Select all the MP4 in Premiere and choose Attach Proxies then select the first proxy file in the list and the rest will relink automatically.Ĩ. Import original MP4 in Premiere and reinterpret the footage at 25fps to have slow-motion.ħ. Once done, I used the free Total Commander` Multi-Rename tool to add the "_Proxy" append to the name so got the files renamed to "DJI_0001_Proxy.mxf"Ħ. Add all the MP4 files in the Media Encoder and select all then right-click on them and select reinterpret footage to set the framerate you want you proxy files to have (my batch of MP4 were shot at 50fps for slow-motion)ĥ. Select default media encoder`s path for new files to the Proxy folderģ. Create the proxy encoding preset in Media Encoder (I wanted to get the full resoluion 4096x2160 50fps so I opted for DNxHR Coded)Ģ. Indeed this feature needs more work into it from Adobe BUT I have found the solution to the problem posted in the first place, also working with a lot of DJI Phantom 4 footage that is heavily compressed and cannot be scrubbed in the timeline by any means,ġ.
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