I'm a little familiar with Plural Eyes, but have never used it with Avid. Unfortunately I inherited bot of these jobs and there were already hundreds of clips that had already been transcoded and used in early cuts by another editor.
A lot of the audio and video was verite, shot under trying circumstances with background noise and other things that make it difficult for Plural Eyes to sync to the 5D footage. They have only started using slates on the sit down interview recently after I complained very loudly. There were scenes where they didn't turn on the camera mic or didn't pay attention to the levels on the DSLR and the audio was distorted. The audio guys recorded great sound even on the verite, but it's still hit and miss trying to sync it. The time code never matches so that makes Avid sync difficult as well. That and sometimes the DSLR audio had an offset from the picture anyway.
My biggest complaint is that Plural Eyes creates a sequence of the synced footage. My understanding is that makes using match frame a multiple step either/or proposition - either video or audio but never both, correct? Is there a work around for that? Since I haven't used it on the Symphony I don't know the answer to that question. If there is a workaround I would be VERY happy. I know Avid auto sync only works with sub-clips and not with sequences.
Luckily some of the best footage was shot on real professional video cameras (Sony Ex1, Sony F3, Red). Those are a pleasure to work with compared to the DSLR. I can actually concentrate on storytelling and not what the technical workaround is.
Of course we're talking low budgets so I can't pass the sync headaches to an assistant. I'm the assistant.
I just hope the 5D and the DSLRs are a quickly passing fad (like 3D).
Thanks for your responses.
Tony
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