Dual-system sound
Sync cameras to a separate audio recorder
Use the recorder's file as the shared recording and each camera's own scratch audio as the guide. PimCut listens to each camera file, finds where its sound sits in the recorder's recording, and places it there — then exports a timeline with the recorder's sound under every camera it placed, ready to cut in Premiere Pro, Final Cut Pro or DaVinci Resolve. It runs in your browser; no footage is uploaded.
The camera microphones do not have to be good. They have to have heard the same room as the recorder, at the same time. A lav or a boom into a field recorder, against camera scratch audio, has the same shape as the music shoot the engine was built on: one clean recording that every camera hears faintly under the room.
Every camera clip needs a stretch of time when both were rolling and the camera could hear the room. A clip that shares no moment with the recorder is never passed as synced; the list names it and says why. The beat-matched first cut is built for music today; for interviews and dialogue you take the synced timeline into your editing software and cut it there.
- Do the camera mics need to be good?
- No. Scratch audio is enough. What matters is that the camera heard the same room as the recorder while both were rolling.
- What if the recorder kept rolling while a camera stopped and started?
- That is the normal case. Each camera file is placed on its own against the recorder, so a camera that stopped and restarted comes back as separate clips, each in its place.
- Can one recorder file serve several cameras?
- Yes. Every camera is matched against the same recorder file, so every camera it places sits on the timeline lined up to one sound.