Doing a very traditional (odd to say it) HDSLR-audio workflow. So double system - Rode mic on the camera (typically Canon 5D or 7D) to record better than internal mic reference and then "master" recording on Zoom (typically a lav and shotgun/boom inputs, 48 kHZ 24 bit WAV files.) Then using mass sync.ing with Plural Eyes in FCP. But unfortunately I'm getting VERY mixed results. Probably only successfully syn.cing up about a 1/3 of the clips for any given shoot after the first PE pass (lining up all audio & video clips chronologically, and checking of the sequential/chronological and try really hard functions.)
Here's the important thing to know about my production. We’re straight up doc shooting, ie shooting A LOT of footage thru out course of the day. Averaging 200-300 individual video files, 20-30 individual Zoom WAV files per shoot day, without any kind of scripting.
So I understand there's some inherent complications in this, that I'm going to have to do a certain amount of more targeted PE sync.ing, as well as straight up old school manual syncing in FCP.
But anyone have any suggestions on what I can do in the field to make sync.ing life a little easier in the edit room? Right now I’m slating in the field – as much as possible, and that's difficult given the unscripted nature of what we're doing – as well as very carefully saving the WAV files in separate individual Zoom folders per the CF cards. So all CF card 1 associated audio is in Zoom Folder 1, CF2 audio in Folder 2, etc. (I know they generate duplicate names, so I rename later.)
Should I do more than slate - maybe an audible countdown? Should I record more individual Zoom WAV files? Is there some way I can "game" Plural Eyes, ie produce in the field that audio characteristic that best helps PE to sync?
Any suggestions would be really helpful. Or even just pointing me to pre-existing online resources that deal with this. The footage is really staring to pile up.