none said:
Joel wrote: I am attempting to sync the Scofield audio to Puggo Grande and I must say my respect for all of you who have done this kind of work has gone up tremendously
Scofield is slower and lower-pitched than the PG audio, so I'm hoping an analog or analog-style ("speed up the tape") fix will go a long way toward making this job easier, but.... yow!
I can't recall someone attempting to re-sync an audio cassette recording of one of these movies with an official release. The closest work you are attempting, done by someone else, would be the PAL NTSC, but those are known quantities, you are dealing with an on the fly shifting. Get it as close as you can.
This is exactly what I have had to do for all of my sound syncs. Capturing 16mm audio requires using an old analog projector, and so it never aligns with the frame captures. In some cases I'm synching audio from a different source (such as for the PG, and for PSB). And whenever there is a splice in the film you have to adjust for that. Vegas lets you cut tracks into segments and stretch them independently. I'm sure my syncs aren't perfect.
Yes, it is very tedious work. When the scene is something mechanical, like a laser blast, it doesn't matter so much if you're off by a frame or two. But getting voices to line up with lip movements is really hard, and even being just one frame off cane make it look wrong.
One trick I've learned is to err on the side of audio being late. In the real world, our brains have come to expect the light to arrive before the sound. So if the audio is late, you might notice it. But if the audio arrives early, it feels really wierd. Doesn't work for close-ups.