Shooting live music is one of the many applications for which a tool like this fits just perfectly, and all in all, I was very happy with PluralEyes 4.0. PluralEyes 4 Hands-on Experience: Conclusion They were all being recorded separately to different devices. You can watch the end result here: In addition to Maria’s dynamic microphone, I had a pair of small diaphragm condenser mics recording Samuel’s guitar and another pair of microphones recording room ambience. The setup consisted of 3 cameras-2 recording in 4K and the other in HD-and of course their respective audio. I had to keep the setup simple due to the space constraints in the office but I also wanted to give PluralEyes enough to chew on, so to speak. They are a couple of very talented, Vienna-based musicians originally from Honduras, and they were happy to drop by to perform an acoustic version of their upcoming single. With very little time to plan, I remembered that my good friends Maria Jose and Samuel just happened to be playing a gig near the Cinema5D office. I was particularly interested in PluralEyes’ integration with Adobe Premiere Pro. The folks over at Red Giant were kind enough to provide us with a copy to try, and I decided to put the software to test. Tim’s article from last month covered PluralEyes within this release extensively, so do have a read if this announcement managed to pass you by. Red Giant recently released their Shooter Suite 13, a collection of utility plugins that can help you at several stages of post-production. Today we’re trying out Red Giant’s newest version of their audio syncing plugin, PluralEyes 4.0, and testing how it stacks up against Premiere’s native sync tool.

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