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We will look at both FCPX and Premiere Pro CC and how you can quickly sync your audio and video in those programs.įollow these steps to sync your footage in Final Cut Pro X:ġ. You should begin by syncing your footage in your nonlinear editor of choice. Test your audio and make sure it is working before you jump in and start syncing hundreds or thousands of clips only to have to redo them later.

It is much harder to correct and change course after you have started down the path in one direction. Just like most things in filmmaking, it is best to check and double-check before you start. Add your clips to the timeline (do this first so that Final Cut will autoconform the sequence if the settings are different from your clip). Create a new project and import your footage.ĥ. For example, if you are working with 30.00 fps material from a Canon 5D, then choose an Easy Setup with a 25 fps frame rate.Ĥ. If you can’t find an exact match, pick one with the same NTSC properties as your video. From the Final Cut Pro menu, choose an Easy Setup that matches the frame rate of your video clips.

This will reduce troubles and prevent having to re-create a lot of your work at a later point.Ģ. To use an Easy Setup in Final Cut Pro, before you start importing your clips and setting up your projects and sequences, take the following steps. Utilize an Easy Setup-an option in Final Cut Pro-that automatically matches your properties and frame rate.Use Twixtor or Compressor to conform your clips to a common frame rate. Never mix NTSC and non-NTSC footage in one sequence.In a nonlinear editor (NLE), do these two key things to avoid sync problems: The best practice always is to set things up right to begin with and deal with issues only at the last few steps of post, not up front. Just because you can speed up or slow down clips from 99.9 percent or 100.1 percent and sync them doesn’t mean you should. This would cause a quality drop right up front and can cause more issues as you move through post. The best reason to not do this is you would be resampling your audio twice.

You have the option of changing the speed of your audio clips, which in theory will help you correct for the difference between 30 fps and 29.97 fps. More specifically, if you shoot with NTSC frame rates (like 23.98 or 29.97) and have your project set up with non-NTSC frame rates (like 25 or 30), then you will have troubles with your audio drifting out of sync over the course of longer clips. The most likely explanation for audio sync issues is that your project has not been set up properly or that your audio recorder wasn’t set up properly from the beginning. Setting Up Your Editing Timelines Properly Also, if you try to sync your audio after a rough edit, it is infinitely more difficult and time consuming than doing it from the get-go. If you have your settings for your project/sequence wrong from the start, then you may end up having drift audio issues where the audio slowly loses sync with the video. Considering you will have hundreds if not thousands of shots, you can see how this may not be the most efficient way to work.įigure 11-1: Working in Premiere Pro and syncing audio with video clipsīefore you start syncing your audio, you must first make sure your timeline or project file is set up properly so you don’t have issues later down the road. Line them up, and you are finished ( Figure 11-1). You just find the start of each scene where you used a clapboard (or your hands), find the frame where the clapboard first closes, and find the audio spike on your audio waveform. This is a pretty simple yet time-consuming way to sync your footage. This time-honored tradition stretches back to the invention of sound for movies. One way to sync your audio and video files is manually syncing them. You have to do it right from the start, or there is a good chance you will have to redo it later. This is a critical and potentially time-consuming process. Whether you have converted your footage or are working in an editing program that lets you edit native files, now is the time to sync up your footage. It is time to start assembling your workflow for post-production. You have made it through your shoot, and you have drives with extra backups lying around. The DSLR Filmmaker’s Handbook: Real-World Production Techniques, Second Edition (2015) Chapter 11.

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