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How to sync audio and video in Premiere Pro and DaVinci Resolve
Premiere and Resolve both automate the hard part. Here is how to make their sync tools work every time.
Dual system sound means your camera records picture and a scratch track, while a separate recorder captures the clean audio. Before you can edit, the two must be aligned. Premiere Pro and DaVinci Resolve each have automatic sync tools, but they only work if you give them the right files.
Prepare the files for sync
Both programs compare waveforms. If the camera audio is missing, clipped beyond recognition, or recorded from a different position than the external mic, sync will fail. Before you import anything, confirm that each camera clip has at least a usable scratch track.
- Keep camera audio enabled, even when it sounds bad.
- Do not transcode camera files before syncing; re-encoding can strip metadata and alter timing.
- Split poly WAVs into named mono stems so the dialogue track is clearly labelled.
Waveform sync in Premiere Pro
Select the camera clip and the external audio clip, right click, and choose Synchronize. Pick Audio and let Premiere align the waveforms. The software usually lands within a few samples. If the clip has multiple audio sources, select the clean external track and unlink the camera audio before syncing.
Waveform sync in DaVinci Resolve
In the Edit page, select the video clip and the external audio, right click, and choose Auto Sync Audio based on Waveform. Resolve creates a linked clip. If the camera audio is poor, it helps to first unlink the video from its scratch track and sync only the external audio to the video.
Timecode sync when you have it
If both camera and recorder share timecode, use timecode sync instead. It is faster and more reliable across hundreds of clips. In Premiere, choose Timecode in the Synchronize dialog. In Resolve, choose Auto Sync Audio based on Timecode. Always spot check a few takes to make sure frame rates match.
Manual clap sync as a fallback
When automatic sync fails, use the clap or the first plosive of the first line. Zoom into the waveform and line up the spike by eye. It is slower but it never fails, and it is the best reason to always slate a take.
Check sync after the edit starts
Drift often appears twenty minutes into a long interview. If you notice lip sync slipping, check the camera and recorder sample rates. A 44.1 kHz file imported into a 48 kHz timeline will drift. Convert the file to the correct rate before syncing if needed.