Review: Red Giant PluralEyes 4

Pluraleyes 4. Import documents or plan for one of the supported packages and click the Sync button and the application will automatically change all documents to each other. This software has interfaces that will be further analyzed, without unnecessary user surveys or confusing controls, faster and more efficiently than the older ones. Drag and drop and the entire folder of the press in Flertalls Eyes, and during a synchronization, it will automatically automatically identify which system releases the press comb. In this latest version, many features and tools, the results of this software are much better and not the old ones versions of this software.
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If you want to try it out a free trial is available both Mac and Windows. The big question is why would one need PluralEyes when most every major NLE has waveform audio syncing built in?

The answer is speed and accuracy. What is your time worth? The multiple interviews shot on multiple cameras test This is a somewhat standard type of setup that corporate editors might encounter. Three cameras were used to record three different interviews. One camera records the hero audio while the others record the scratch. The final media is ProRes. A kicker is Camera 1 malfunctioned after the first interview and only recorded the single interview.

This is the structure of the media on the hard drive, ready to edit. PluralEyes 4 has updated the interface to make it easier than ever to use. While there is an option under the File menu to Add Media PE4 is easiest when you drop the media right onto the interface. With a track for each camera representing each folder PE keeps all the different cameras and setups separate. A little organization of your media will go a long way toward organized syncing. Once the media is added to the timeline PE has to prepare the media by creating Temporary Sync Files.

These are audio extractions that PE will use to sync the media. In just about 18 seconds PluralEyes 4 was able to sync this hour and a half of multiple camera interviews. Prep took a couple of minutes on an old Mac Pro tower. What looked to be a bit of clip chaos in the top unsynced image makes perfect sense once you see it completed.

PE 4 identified the three different cameras, three different talking heads and moved the media accordingly. If you had no idea what was handed to you conceivably you could just throw it at PE 4 and see what it could come up with. Click the monitor button to show the Player and you can check sync with a viewing monitor. Muting and soloing audio tracks lets you check different angles.

That is particularly useful. Exporting gives a few more options than before. Above is the same sync back in FCPX with multicams created.

This is the Angle Editor and everything is in sync and ready to edit. We also still have the ability to create new video and audio files with the synced media. But notice anything missing? But it did work and I know folks that used it myself included. Yes the new Avid Media Composer 8. The multicam shoot in a noisy club test This test involved several cameras capturing a song during a live performance in a large club to be used in a music video. I guess some cameras turned on and off during the single song performance.

Once PE made the sync I learned something. This was really just 3 or 4 cameras shooting the same song in multiple locations. PE 4 was able to identify the three different performances of the same song and group each different performance together in sync.

Next Page: I had to drag each camera into the PluralEyes 3 interface separately to get everything on the right track. And PE 3 is significantly slower at both the media prep and the actual sync. In the end PluralEyes 3 achieved the same syncing result but setup and prep took a lot longer with a lot more dragging in of media to set up each camera timeline. With a lot more setup work FCPX would have been able to make this sync as the audio was good but it certainly did not do the sorting job that PluralEyes 4 was able to do.

And it took a lot longer as FCPX analyzed the 1. PPro was able to get most of the sync right and created multiple Multicam Source Sequences so that is good. It would take a bit of fiddling to get them ready to edit. And it also took a lot longer to get to this result than PE 4. And because I could I tossed this same sync into Resolve to see what it could do. Make no mistake this is a tough sync that I was asking these tools to achieve and all of them would have been able to individually sync the different interview setups but part of the point of PluralEyes 4 is to make syncing fast and accurate.

That is what PluralEyes 4 was able to do way better than the built in audio waveform sync of the NLEs. This extends to functionality of PE 4 beyond the application interface.

To make the Premiere Pro PluralEye panel work you have to put all the media in the timeline. But it has to be prepped properly.

And you get some of the same option when working with the Premiere Pro panel. By manually putting each angle on its own track PE 4 was ready. In just a few seconds the PluralEyes engine was able to sync all the media. Was it faster then using the new PE 4 interface? Probably not for this sync but I can see times when staying in PPro could save time. We talked about the missing sync for Avid Media Composer above.

Presumably these things all happen now anyway so they are not needed. Simple is indeed better but not always at the expense of removing features. We decided to remove Avid support because it proved to be a very technically difficult host to support, which resulted in a high number of problems for customers.

Until we are able to provide a pain-free solution that truly supports the Avid workflow, we decided to discontinue our support. This was very useful for syncing music videos where you have multiple takes of the exact same thing. I liked it so much in fact I lent Red Giant some music video footage a long time ago for their quicktip page.

In the older PluralEyes 3 dragging a bunch of music video takes to this little icon automatically created a track per clip. Very helpful in music video syncing. I definitely do not want them all on the same track. My thought here would be that just hitting Synchronize would identify that they are essentially the same thing and pop all 10 takes onto different tracks but if you notice in the image above the orange Synchronize button is grayed out as PE 4 needs more than one track to perform a sync.

PluralEyes 3 called adding a new track Add Media Bin so you could manually add a new angle. You can still do this you just have to drag a new clip into the left side of the interface but there is no menu item to add that new track. Despite losing a couple of these key features Red Giant PluralEyes 4 is a good update.

The redesigned interface is much easier to use. The speed and accuracy is second-to-none, just as it has always been. Automagic indeed. PluralEyes 4. A much cleaner interface, still faster and more accurate than the NLEs, drift correction can be toggled on and off Cons: Check your preferences for the your temp files and how they will be both saved and deleted. Check you keyboard shortcuts via the Help menu as there are several.

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April 22, PluralEyes 4. It has an excellent sync accuracy with high-speed. However, you can work here with different media formats. It quickly exports multimedia files for use with other NLES. In addition, it is compatible with vegas pro, multimedia pro, and premiere pro. PluralEyes Keygen has built-in fine tuning control.

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