Oversynching: Is it possible?

[godix]

Thanks godix. I always thought there was something rotten about that video. I'm glad you took the time in this thread to point out its flaws.

You're quite welcome but really we should be thanking you for all the fine negative examples you've produced over the years.

[Sammy]

Thanks godix. I always thought there was something rotten about that video. I'm glad you took the time in this thread to point out its flaws.

You're quite welcome but really we should be thanking you for all the fine negative examples you've produced over the years.

Excuse me, I have something in my eye...

[jasper-isis]

I think the problem comes from the misconception that beats are the only things you can synch to in music when in fact you have tons of other elements like:

- glissandos
- dynamics
- repeating patterns, especially ones that get gradually higher or lower
- legato vs. staccato notes
- any high-pitched "pings," since those are usually more noticeable than notes from the lower extreme.
- changes in tempo
- changes from major to minor or vice versa

specific musical or sound-specific elements you could synch to:

loudness:
crescendos, diminuendos
accented notes
pauses (of silence) (example: The Wasteland)

tempo:
accelerandos, ritards
rubatos, cadenzas

rhythm:
meter, beats, notes
downbeats vs. upbeats
syncopated notes
polyrhythms

timbre:
instrumentation, percussion, synthesized sounds, sound effects, or other sound imitation
instrument production (plucking vs. bowing, dampening, muting)
articulation, amplitude modulation, frequency modulation (vibrato)

pitch contour:
ascending vs. descending, step motion vs. skip motion, neigboring motion vs. passing motion
arpeggios, glissandos, turns, trills

tonal structures:
repeating motives (or riffs), phrases
motive variation, phrase variation
cadences
melody vs. harmony

chords, keys:
dissonant vs. consonant chords, major vs. minor chords
key changes
scale changes

sound processing:
reverb
stereo (binaural disparities)

performance cues:
number of instruments playing
solos
improvisation
note onset asynchronies

... and more. Those were quoted from an instrumentals-specific thread, but I think that a lot of it applies to all music in general.

However, I don't think that most action videos lend themselves to oversynching, simply because beat synch is in the nature of action videos. Now, if you have an action video with solid white flashes on all the beats - well, that's not oversynching, that's just plain uncreative.

[LCY84]

Flow > Beats

x2

Syncing with using cuts is usually a good sureshot way to sync, but it's not the best. Example: http://www.animemusicvideos.org/members ... hp?v=36320



Too many fast cuts and you'll make your AMV harder to follow. Sure it looks damn good (if you pick the right scenes), but in the end it's just a image fest.

His direct link does not work

[x_rex30]

Flow > Beats

x2

Syncing with using cuts is usually a good sureshot way to sync, but it's not the best. Example: http://www.animemusicvideos.org/members ... hp?v=36320



Too many fast cuts and you'll make your AMV harder to follow. Sure it looks damn good (if you pick the right scenes), but in the end it's just a image fest.

His direct link does not work

Here you go.

Face Your Destiny by DarkXPower

[Kusoyaro]

I tend to oversynch every one of my videos on the first time through. When you're editing, you're editing on a very small scale, just a tiny portion of the song at a time...so it's easy to try and hit everything, while missing the bigger picture. The trick is to back off every now and then and watch how, say, a 30-second segment of your video plays out...then you can go in and take out extraneous edits and effects that disrupt the feel of your video.

[LCY84]

Flow > Beats

x2

Syncing with using cuts is usually a good sureshot way to sync, but it's not the best. Example: http://www.animemusicvideos.org/members ... hp?v=36320



Too many fast cuts and you'll make your AMV harder to follow. Sure it looks damn good (if you pick the right scenes), but in the end it's just a image fest.

His direct link does not work

Here you go.

Face Your Destiny by DarkXPower

Thanks

[Decoy]

Over synching…? Totally possible! In fact I’m guilty of it myself.

The Kenshin vid I made a year or so back, was made to Overseer’s Supermoves – now that’s a busy song. I went and synched almost every single beat to something or another. The result? Total chaos! While it was almost flawlessly [note almost] synched…it was a bit too much and detracted form the whole experience I was trying to create.

[Bote]

I never felt I oversynched something in my vids. Strangely enough this is the first time I'm trying to analise whether I've gone abroad somewhere.

But yeah, I guess. One thing I hate is when the editor synchs background drumm hits (the ones that are barely heard and which shouldn't be followed at all) with black flashes.

[Brolly345]

Somehow I feel that the overwhelming responce in this thread doesn't seem to match the opinions of a majority of the users. What I've encountered through my timeless searching for videos (the database is hueg), is that people either don't do it, or do it obscenely. My worry is that people interpret the opinions of others that read something like:

"u need t osync mroe"

as something to be followed to the letter. I'm seeing more and more of people worrying to hit every beat, and ignoring flow. Here's a hint: while it might be cool to watch once, the videos that will stick with people, much like movies, are the ones that mean something. Sure, you can make a video that hits every beat, it can be fast paced and cool, and people will like it. However, when you make something that tells a story, or some other sappy nonsense, and do it well, it will be remebered longer. For good measure (and perhaps to back up my comparison to movies), think of the classics that are commonly referred to in pop culter. The Godfather, Gone with the Wind, Casablanca, and others. While I personally don't like these movies, they stand the test of time and hold as testament to the theory that a story well told will captivate audiences for ages.