Today we’re trying out Red Giant’s newest version of their audio syncing plugin, PluralEyes 4.0, and testing how it stacks up against Premiere’s native sync tool.
Red Giant recently released their Shooter Suite 13, a collection of utility plugins that can help you at several stages of post-production. Tim’s article from last month covered PluralEyes within this release extensively, so do have a read if this announcement managed to pass you by.
The folks over at Red Giant were kind enough to provide us with a copy to try, and I decided to put the software to test. I was particularly interested in PluralEyes’ integration with Adobe Premiere Pro.
With very little time to plan, I remembered that my good friends Maria Jose and Samuel just happened to be playing a gig near the Cinema5D office. They are a couple of very talented, Vienna-based musicians originally from Honduras, and they were happy to drop by to perform an acoustic version of their upcoming single.
I had to keep the setup simple due to the space constraints in the office but I also wanted to give PluralEyes enough to chew on, so to speak. The setup consisted of 3 cameras—2 recording in 4K and the other in HD—and of course their respective audio.
In addition to Maria’s dynamic microphone, I had a pair of small diaphragm condenser mics recording Samuel’s guitar and another pair of microphones recording room ambience. They were all being recorded separately to different devices. You can watch the end result here:
PluralEyes 4 Hands-on Experience: Conclusion
Shooting live music is one of the many applications for which a tool like this fits just perfectly, and all in all, I was very happy with PluralEyes 4.0. Previous versions of the software had performed well for me in the past as standalone apps: there was something very satisfying in seeing all those clips rearrange themselves in a matter of seconds. But having all that functionality now available within Premiere has made a fast and enjoyable process even more so.
PluralEyes 4.0 is available for $299 standalone, and for $399 as part of Shooter Suite 13.
If you like the music, don’t forget to follow Maria Jose and Samuel on Facebook!
Red Giant has announced PluralEyes 4.0, a sleek new update to the audio sync software. PluralEyes 4.0 simplifies its interface, alleviating confusing controls and adding faster, more streamlined workflows with Premiere Pro CC and Final Cut Pro X.
For those who don’t know, PluralEyes is a very useful tool for syncing audio and video. Whether it’s a single camera and audio recorder, or MultiCam setup with several audio sources.
The process is simple: it analyses similarities within audio tracks (you need reference audio for every video track) and matches them up, saving you hours of manually syncing multiple files.
PluralEyes 4.0: What’s New?
So what does PluralEyes 4.0 bring us? I currently use 3.0 and was excited to learn a little more about the new features this update will bring. Below you’ll find some of the key points:
More simplified layout
Auto analyse alleviates un-necessary user selection
Auto Audio Drift Correction
Improved workflow for organising files
Improved support for NLE software like FCP X and Premiere Pro CC
Perceived improved speed on analysis
The last point maybe a little ambiguous but I will explain later.
It’s clear Red Giant took a step back and reviewed PluralEyes from a user point of view. They’ve stripped the interface right back, removed the unnecessary user input for ‘how hard’ the software works & added Audio Drift Correction as standard. I completely agree that the previous PluralEyes tries a little too hard in emulating an NLE interface; I simply want to sync my clips and get out of there.
Previous link up with NLE programs was pretty quick and easy; one extension click in Premiere Pro and your timeline was importing into an auto-opened PluralEyes. After syncing had completed, a click of the export button would close the program and return you to Premiere Pro with some newly made timeline in your project bin.
PluralEyes 4.0 is even quicker; the audio sync software now opens in a panel within Premiere Pro, meaning you don’t even have to enter a standalone piece of software:
Also for FCP X and Sony Vegas Users:
There are a couple of easy access features from the PluralEyes panel in Premiere Pro (or other NLEs), you can colour code un-synced clips and send them to the end of the timeline—a nice feature for quickly organising your timelines.
Expanding on my last bullet point, it seems as if the analysing process is now faster in PluralEyes 4.0. If there was one aspect I’d like to have changed from version 3.0, it was the speed of analysis; 4 video sources around an hour in length would take a while to chug through.
For this reason I was happy that PluralEyes would open in a standalone program, I could leave it run in the background and get on with other editing tasks. The above tutorial on its integration with Premiere Pro shows an hours worth of footage (from 3 sources) analysed in realtime. From previous experience, I was pretty impressed with how fast it does this, but there are so many variables that I couldn’t confirm whether the overall speed has been significantly improved; I’d be very keen to try it out and see how fast it operates within Premiere Pro.
PluralEyes 4.0 is available now for a stand alone purchase price of $299, or $99 as an upgrade or $149 for academic use.
Red Giant, the makers of such indispensable post production software like Pluraleyes, Looks Suite, Colorista II or Trapcode, just started their annual big sale, which traditionally lasts only for 24 hours. That means 40% off everything, which is quite significant.
Just head over to Red Giant and use the code “BIGSALE40” on checkout to pay 40% less. It ends at 8 am PST on Dec 10, 2014.