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24p clip in FCP7 not matching QT Player
I captured clip using 24p (NOT 23.98) capture setting (AJA Kona LHi, ProRes, HDCam F500, FCP7). It has bloop light and sound.
In QT Player 7.6.6, 49 frames into the clip the Bloop light is lit when audible beep is heard.
In FCP 7.03, 51 frames into the same clip the Bloop light is lit (and appears 2 frames behind the audible beep in the viewer).Exporting shows similar results. When I mark the IN point at the frame when the bloop is lit and an OUT somewhere later, and then export the movie, I get a movie that has no lit bloop light.
I’ve discovered if I make my IN point 2 frames earlier, then my exported movie has bloop lit at its first frame. Of course the bloop isn’t lit at the same timecode that I see in FCP, but it does match the timecode I saw in QT Player. If I edit the clip (with the IN at lit bloop) into a 24p sequence, I see the lit bloop at the start of the clip in the timeline. But if I mark that clip in the timeline and export it, I don’t see bloop lit in the exported movie.
I don’t have this trouble with a 23.98psf clip or a 29.97psf clip.
Is there a setting or codec in FCP that is delaying what I see on my computer screen (Viewer, Canvas) by 2 frames or perhaps better, why don’t I see my audio and video in sync within FCP when working with a 24p clip?
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3 Replies
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For what I know, the HDCam F500 doesn’t makes p24 but p23.98.
Thats the capture setting you have to use.
rafael -
[Jeff Coleman] “Is there a setting or codec in FCP that is delaying what I see on my computer screen (Viewer, Canvas) by 2 frames or perhaps better, why don’t I see my audio and video in sync within FCP when working with a 24p clip?”
A difference in sync in the timeline means that the double system sound is being mis-interpreted at a different frame rate. Since external sound is typically simply “48kHz” (or whatever), FCP looks at your default project settings and assigns arbitrary time code, based on that setting, to the file. It looks like you are seeing the difference between 24 and 23.98 being mapped onto the viewer. that is why the visual waveform is in the wrong place. This becomes extremely obvious if you are working with a project with a much larger frame rate difference, like trying to add a .wav originally intended for 2997 to a 25fps timeline without changing the FCP project settings.
jPo
You mean “Old Ben”? Ben Kenobi?
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Rafael
F900 makes 24p.
F500 plays it back.
(I believe the recording is psf, but the image is p.)
I’ll double check that as it is a unique configuration for me. Thank you.Joseph
Double system sound, visual waveform, arbitrary timecode, sync in timeline….. hmmmm.
This is multiplexed SDI captured movie playing in QT Player and the Viewer, although I did try to export from the timeline to see if it made any difference. No double system sound, not looking at a waveform but at picture– though perhaps that’s what you meant.
You’ve provided food for thought though. FCP doesn’t display the timecode of the clip, but assigns it arbitrary timecode? If true, then that might explain why the bloop lit frame in FCP has a different timecode than the bloop lit frame in QT Player when looking at the same clip/movie. (BTW, the QT Player timecode matches the tape timecode). That’s a bit scary as I think about it. That means I’d capture frame X when I batch captured my final sequence, but it would actually grab the wrong frame, X – 2, in order to insert the one intended. I think my head hurts now.
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