I've developed a number of little tools to improve my workflow and efficiency, for more creativity in the edit and the colour grade. They're being made available here.
Three adjacent orange camera clips sit between grey neighbouring clips above a fixed master recording. Each lifts vertically and searches horizontally until its guide waveform lines up with the master. The source audio then stays aligned while the window edges return to the original edit boundaries, before the green clip descends vertically. The second waveform stretches from 80 percent to 100 percent to match. The third uses an extended window to find a distant match. Source waveforms change inside the original edits. These are illustrative recordings, rather than real audio being processed.
Available now
Multi-take best-fit alignment with FineSync, and light-accurate lens emulation, available to add into a workflow for more accurate audio sync, less time wasted and improved picture quality.
Hours of sync in a couple of minutes.
Developed for multi-take music videos, FineSync allows an editor to pick any take of video without worrying about sync with the master audio. Finesync uses a bespoke MFCC algorithm to align each clip in your timeline to your master audio, whether the take is the same as the audio or not.
Scene-linear lens emulation.
Discreet and effective DCTLes for lens emulation without high CPU cost. Designed for realistic Diffusion, Bloom, Chromatic Aberration, Sharpening and Lens Defocus - either to match lenses or just add some extra visual interest.
LinearLens - Individual tools
Click on the plugin to find out more.
Subtle diffusion filtering
£30 lifetime ↗ DaVinci Resolve DCTL Linear BloomGentle lens bloom
£30 lifetime ↗ DaVinci Resolve DCTL Radial Chromatic AberrationRadial focus offset for different wavelengths
£30 lifetime ↗ DaVinci Resolve DCTL MTF SharpenPercieved resolution shaping.
£30 lifetime ↗ DaVinci Resolve DCTL Lens DefocusDefocus based on real world aperture behaviour.
£30 lifetime ↗Built for real production work
FineSync developed through music video and session filming, where the master audio would make the video cut too prescriptive. LinearLens came together because I wanted to put my lens-related effects in a more physically accurate part of the color pipeline.
Not sure whether this suits your workflow?
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