But now that I can watch and keep tabs on what is happening, I feel much more connected to the syncing process and know exactly what to expect as it occurs. It’s fascinating to watch and I wouldn’t have thought it was really necessary for the editor to see exactly what is happening, as I’ve run many a sync operation through the old PluralEyes and never been able to watch it sync. When the Synchronize button is pressed, you see the program go to work as the waveforms begin to slide around in the timeline and little arrows pop up and go away to show exactly where PluralEyes 3 is working at any given point. When angles are added for syncing, their waveforms are drawn in the timeline area. It’s not a place to do any editing but rather a place to visualize all your camera angles and audio tracks. The most noticeable feature in the new PluralEyes 3 interface is definitely the large timeline window. And think of PluralEyes 3 as the perfect tool for that step. Think of syncing as an entirely separate step in the post-production process. You don’t even have to open your favorite NLE before going to work syncing camera angles. Where early versions were just a small import/export window (all setup was done in the non-linear editor), PluralEyes 3 is a one-stop-shop for all syncing. If you don’t know anything about PluralEyes 3, you should first know that it differs greatly from previous versions. And even version 3 has now seen a few updates (the program is now at v3.1.1) that added some great functionality. The product saw a big upgrade with version 3. Automatically syncing multiple cameras and audio tracks, it might be one of the single most useful technologies to ever come along in post-production. If you follow post-production news at all, then you’re probably aware of (and may have even tried out) Red Giant's PluralEyes 3. A Top-Notch Sync Tool Gets Even Better with a New Music Video Workflow
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