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Team Negative1's Silver Screen Edition with Puggo 16mm audio

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Hi all,
Wondering if anyone can help.
I’m not an audio specialist but I’m trying to sync the mono audio track from the Puggo Grande 16mm scan with the Silver Screen Edition of SW 1977.
Why? Good question. I really love the sound of the 16mm for some reason 😛
I realised beforehand that they would be heavily out of synch, so I’ve tried using the software pluraleyes to bend the Puggo audio to that of the SSE, but no luck so far.

Anyone have any thoughts or is it near enough impossible?

Cheers!

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 (Edited)

Perhaps the easiest way to do this would be to use a video editor (Adobe, DaVinci, etc) and synchronize the TN1 video to the Puggo video. Inserting black frames or duplicate frames or whatever other tricks you want to try to pull, as needed.

Put the two video tracks into different layers. You can minimize the puggo one and put it in the corner or something. Get the first “Star Wars” frame to occur at the same frame timing as the first “Star Wars” frame of puggo. And then continue on through the film, finding the next time that the first frame of a shot no longer matches up. And then fix it. Export your video and mux it with the puggo audio.

The alternative would be to do similar alignment, but bringing Puggo to sync with TN1, instead of the other way around, making sure that the audio is cut when the video is cut. And then applying crossfades or whatever you need to do to make it sound okay. Then, export the audio. I’m not familiar enough with puggo’s 16mm to know what it is missing, etc, though.

Either way, the point is that you have the Puggo audio synched to the Puggo video, so the trick is to synchronize based on the two video tracks you have because it can be done precisely that way.

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Hi Towne,
Thanks for the advice! I did as you suggested and it took a little while but was 100% successful!
Ended up making about 50 edits into the SSE in Adobe Premiere and I found I needed to do a combination of syncing Puggo to SSE and vice versa depending on where the problems were. The two are actually perfectly in sync for very long periods, which I didn’t expect, but between scenes, and sometimes during, the 16mm print holds on shots for longer - it’s actually slightly more loosely edited in many places than the 35mm! (For example when Obi-wan squeezes Luke’s shoulder to revive him, the cut is a lot later and feels if anything a bit more natural. And there’s a few like that)
Puggo also goes out of sync during the wipe transitions, and between reels. I managed to get it to work without using any black frames and only repeated a couple of frames once so fingers crossed it shouldn’t be noticeable!
Thanks again for your help!

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Hi all,
This edit went pretty much without a hitch. Puggo and the SSE work fine together. Unfortunately, a small problem cropped up.
I demuxed TN1’s .mkv to .mov with a Mac app called Remux. No probs there, but what I discovered recently is that when imported to Premiere CC 2015 (it’s fine before that), several shots in the movie start with a few seconds of horrible colour distortion (like waves of green and red). This results in a flash of very high saturation, before the shot settles back to how it should look. Bear in mind, this is not before a cut I’ve made in the video clip, but at the beginning of a shot within the full SSE clip.
Here’s an example. This problem persists to all exports - ProRes, h264, whatever.

https://vimeo.com/158921713
Pass: pug

It’s not a huge deal, but it’s a little distracting. It doesn’t just happen in the desert scenes but across the film. I’m going to try to get the project into Final Cut X (Trial) and see if that makes any difference, but in the meantime, if anyone’s ever stumbled across this problem, any ideas would be incredible.
Cheers!