Sorry to disappoint you Grazie, but the application purely and only analyzes the audio tracks... BTW, how does it cope with cams that are placed further away, that record the audio with a delay of one frame or two? And how about a cam that is not on a tripod, but carried around the area thus with variable audio delay?

christian

Pretty good review here:

http://digitalfilms.wordpress.com/2009/06/20/pluraleyes-help-for-that-syncing-feeling/

As you noted wandering sync it cannot adjust for. Still getting everything close to perfect when you've got 3 or 4 cams and they were switched in and out of record at random times would be a god send. It also seems to be able to cope with distorted audio, if it can cope with audio from cameras with AGC it's probably better than me at finding sync from a waveform.

Bob.

Regarding Christian's point: if you had cameras equal distance from the sound source this would work. I always end up having to adjust for distance also. Even if I have 3 cameras parallel, the middle camera is always different syncing with the R & L due to their being further away from center stage. Then I usually have one camera on a riser/tripod a bit farther back to capture a wide angle in case all three main cameras happen to be moving at the same time into a new shot, which creates another level of sync adjustment. I don't see that this software -- or any software -- would be able to account for this.

"Then I usually have one camera on a riser/tripod a bit farther back to capture a wide angle in case all three main cameras happen to be moving at the same time into a new shot, which creates another level of sync adjustment. I don't see that this software -- or any software -- would be able to account for this."

Trivial to compute an offset if you bother to measure, or at least reasonably estimate, the distances and then input them into the app. What I do is have the FOH mix fed to all three cameras just for sync purposes. for roving cameras, having a wireless audio feed is not rocket science. I also get DATs and CDs of the discrete audio channels, which I use for a stereo soundtrack. Pluraleyes doesn't do anything, as far as I can see, that I don't manage in a few minutes manually in Vegas. True, I've had a lot of practice in doing this and it took much longer to accomplish in the beginning.

What would save me a lot of time would be an app that would look at a stereo audio track and give me a linecut switching to the camera that had the audio activity, with user definable parameters for hysteresis and delay, allowing me to later insert master shots and fine tune the actual takes.

Then we'd be cooking with gas!

Seems to me to Sync any number of Cameras from a Multi Camera Shoot you would Sync the Internal Clocks then Record using this timecode... in the edit you would Click a Magic Button that would then Sync the different Cameras accordingly.

I see where a Software such as this would work for a Music Video where you use 1Camera and do various angles. You could then sync each take to the music via the Magic Button.

Just seems that a software of this nature would only work with some type of Syncopated Rhythm or Tempo. I don't see where it would work with a 1Camera shoot w/Various angles where each delivery is different.