In-Avid syncing

Compared to other methods

(Comparisons in this presentation are from the perspective of the Avid user.)

What is in-Avid syncing?

• Picture and sound are imported into Avid as separate clips and synchronized within Avid to create a subclip for editing

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What is syncing outside of Avid?

• Picture and sound are imported into another application (ColorFront or DaVinci Resolve) where they are synchronized and then a combined clip of the sound and picture is exported (with metadata) for Avid.

1. Original source length relationships are maintained.
2. Picture and sound outside of the synced clip are available within Avid.
3. Only one copy of audio media is needed.
4. Group clips consisting of starting and stopping cameras can span original sound recording length.
5. Slip-by-perf function is available.
6. Metadata tied to original source lengths
7. If picture colour changes necessary, it’s simpler to swap out picture-only
8. For sound EDLs, the Tape field can be used for the source name

Advantages of in-Avid syncing

In-Avid Syncing Advantage #1/8

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• 1:1 relationship of picture and sound lengths maintained within Avid and is accessible to the editor

• 1:1 relationship of picture and sound lengths only exists outside of Avid and is not accessible to the editor

Sync in-Avid

Sync outside of Avid

In-Avid Syncing Advantage #2/8

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• Picture and sound outside of the synced clip is accessible to the editor via matchframe providing assurance that they aren’t missing anything

• Only the imported synced portion of picture and sound is accessible to the editor

Sync in-Avid

Sync outside of Avid

In-Avid Syncing Advantage #3/8

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• Only one copy of sound file needed even when syncing to multiple cameras

• Multiple cameras require duplicate sets of audio files which necessitates more storage space and download time

Sync in-Avid

Sync outside of Avid

In-Avid Syncing Advantage #4/8

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• If source audio continues across multiple cameras starting and stopping, a group clip can be built spanning this length

• Full source audio length limited to synced portion so a group clip of this type couldn’t be built

Sync in-Avid

Sync outside of Avid

In-Avid Syncing Advantage #5/8

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• Because they are synced subclips, Avid’s “slip by perf” function is available to adjust sync when needed

• Because these are synced master clips, “slip by perf” is not available

Sync in-Avid

Sync outside of Avid

In-Avid Syncing Advantage #6/8

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• Timecode start and end metadata is tied to original source lengths

• Timecode start and end metadata is tied to imported clip length, so if audio stops before video, false timecode is extended into that section

Sync in-Avid

Sync outside of Avid

In-Avid Syncing Advantage #7/8

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• If picture colour changes are needed, it’s simpler to swap out picture-only media

• If picture colour changes are needed, both picture and audio media have to be re-delivered and then re-linked for each person using the clip

Sync in-Avid

Sync outside of Avid

In-Avid Syncing Advantage #8/8

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• For sound EDLs, the Tape field can be used for the source name.

• For sound EDLs, the Soundroll field must be used for the source name and if it is blank the Avid list tool will raise an error.

Sync in-Avid

Sync outside of Avid

Syncing Outside Avid Advantage

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• Matchframing goes back to the source picture or source audio

• A subclip of just the mix channels can be matchframed back to the masterclip of picture synced to all ISO audio channels.

Sync in-Avid

Sync outside of Avid

Caveats

Just make sure the lab remembers not to render the video with empty audio tracks. So annoying.

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Also make sure Film is checked and the correct Film Type (16mm or 35mm 3 or 4 perf) is selected when creating the Avid project.

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(Subclips in Film designated projects won’t allow dragging beyond their extents in trim mode.)

8 advantages for syncing in-Avid

compared to

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1 advantage for syncing outside Avid

Conclusion:

Syncing in-Avid Wins!