Syncing with audio - Premiere Pro Tutorial

- Sometimes jamming time code is not going to be an option. Maybe you just don't have enough cables or the cameras themselves don't support it. That's the case with the footage we're going to look at next. It was a bunch of DSLRs on a shoot covering a musical performance, but each camera had reference audio captured, so we're able to use that. Let's have a look. Go to folder 3.2, and open up Audio Sync. Here, you'll see that we have a variety of footage. We have our musical track plus each angle. And if we look at these angles here, you see how they line up. (distorted audio) - [Woman] Summer take two marker. Marker! (clap board clapping) - [Man] Play in your spot, John (speaking quietly). - [Instructor] There's our marker, for example. And I could see our click track here. (click track clicking) Well, that click track is on all of these tracks. If we look at the audio and we zoom in a little bit, you'll see those distinct pops leading us in. That's because on the song, we recorded that standard audio intro. And if I look at each of these angles here, and the relative audio track, you can see those. Let's zoom in here a little bit. And there's those five pops. - [Man] Action. (click track clicking) (upbeat music) - [Instructor] And then the song. Well, in a music video, it's very common for the people to play along to the prerecorded track. Even if they're playing live, they'll still use the professionally recorded song that was recorded in the studio. By adding those five beeps right before, it gives the crew and the performer a countdown. You'll see that we have the five beeps here on the click track. This was played back on set with a speaker. We also have it on its own so it's clean audio. Then, each of those camera angles has that same audio recorded. Now, we also have a slate, so we could synchronize off of that, and there's even time code on that slate, so we can go in and modify these clips like you saw earlier to sync on time code. But one of the easiest ways to sync is with the audio track when you have all of those. So, let's take a look. What I'm going to do here is open up this bin and maximize the window. Remember, the clip you click on first has the ability to be set as the audio that runs all the way through. I don't actually need the audio on these other angles here, so I'm going to ignore it. What I'll do now is select the rest of the angles. With a right click here, I can choose to create my multi-camera source sequence. We're going to synchronize using the sound. So we'll choose audio. And I'm going to use track one on each clip. If you want, you can mix down the audio across all the clips if you're not sure which channel was used. But, I think track one should work. We're going to automatically let it configure the sequence, and I'm going to pull the audio from camera one. I don't want it switching, nor do I want to use all of the audio angles here because most of the audio is just reference. You would never use it because it has all the sound of the environment. The sound of the camera, the equipment, the slider going back and forth. This audio is not usable. So, we'll pull it from camera angle one. And I'll tell it to go ahead and enumerate the cameras here. When I click okay, it's going to analyze all of those clips and attempt to align it. In this case, it was able to process it. Let's right click and make a new sequence. New sequence from clip. There it is. Now, we're going to talk more about this later, but you see here the multi-camera view. If you don't see that button, click on the plus button here and just drag it down into your toolbar. This gives you the ability to see all the angles. Now, what I'm going to do is maximize that window for a moment. As we drag through, you see that the other cameras start to turn on. So, you'll see them all start relatively close to each other but not at the exact same time. Notice how everything's synced? And if we go off of the close of the clap board there, it should be within one frame accurate, so I see a one frame difference there, very small amount. Not a big deal in this case. Some of that could be the distance from the camera. So if you're concerned about the sync, you could use those manual end points that you set for markers, which I'll show you later. Sometimes if a camera's further away, that little difference in distance could equal a one frame difference in the audio sync. But, this should be close enough. Let's have a look here at the performance now. (upbeat music) ♪ When I see fireflies ♪ ♪ That summer rings through my mind ♪ ♪ As I recall, the stars were bright ♪ ♪ Something in the air felt right ♪ ♪ The days were long ♪ ♪ Outside we held each other ♪ ♪ We didn't have a care at all ♪ - [Instructor] And as you can see there, it's well synced and easy to edit between the five angles. As long as you remember to put good reference audio on all of your clips, this is another way to sync up all of those angles. Now personally, I like to use the slate and the precise method of marking an end point or a marker, which I'm going to show you next, to really get over some of the issues of slight drift in audio. But in this case, it was quick and simple, and it did line up the original audio track plus all five angles very quickly and easily.