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Deliverables
I am scared, because what I am doing seems to be working, but I guess I refuse to believe that Final Cut Pro is this powerful!
I am have to deliver 5.1 Printmaster and M&E tracks with a stereo mix in 23.98, 29.97 and 25.
I used compressor to convert the PAL tracks and it appears that by just changing the Final Cut Pro Easy Set Up, I am able to use the same 6 audio stems (5.1 mix) without converting anything by just opening Final Cut Pro with the proper frame rate designated in the easy set up. Then I import my master stems and export using quicktime conversion to WAV files. Is it really that simple?
Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com -
8 Replies
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[Michael Nichols] “Then I import my master stems and export using quicktime conversion to WAV files. Is it really that simple?”
Should be that simple. The audio shouldn’t be tied to the video time-base (unless it has TC track).
The audio sample rate is the audio time-base, and this is the same (48 Khz) for your three movies (23.98, 29.97 and 25).
Rafael -
How did you get the three different frame rates, meaning how’d you conform?
What is the original?
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The original was 24fps scans interpreted as 23.98 with Gluetools. I edited and finished at 23.98. For my PAL conversion, I used Compressor (with keeping the playback at 100% of original) and the results were pretty solid. For NTSC, I let the Kona 3 do the downconversion out to Digibeta.
Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com -
Then yes the audio is the same real time as all the frame rate conversions so they should just drop in to each version and maintain sync. That is why I recommended doing the frame rate conversion, rather than speed up the PAL. It keeps the audio perfect pitch and sync that way, plus your program duration doesn’t change.
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[Michael Gissing] “That is why I recommended doing the frame rate conversion, rather than speed up the PAL. It keeps the audio perfect pitch and sync that way, plus your program duration doesn’t change.”
And therein lies the difference. There’s no right or wrong and sometimes it’s dictated by running time, but some might say that they would rather keep the video in place and not ‘reinvent’ some pixels. Others say, leave the audio in place and don’t change the timing.
Michael N, as Michael G has said, since you converted your originals like that, all the audio is at the exact same time, so you aren’t changing anything. The easy setup trick is needed though, to maintain sync. That is more a bug than a feature, if you ask me.
Jeremy
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Ok, here’s one I cannot figure out: While the same audio clip keeps sync with each other (23.98, 25, 29.97) the video files are not the same length! How is that even possible?
My HD master movie file is 1:29:48:09
My PAL master movie file is 1:29:53:18Yet the same audio file (when chosen under the proper easy set up) syncs perfectly to both these files!
Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com -
Wait…is that because I am looking at the 23.98 HD master file in a project set up for PAL? As a test, I did a .1% speed change to the HD 23.98 master file in my PAL 25fps project and it snapped exactly to the length of the PAL file! This is crazy enough to make even the sanest of men pull their hair out!!
Glad it’s starting to make some sense though…
Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com -
Different timecodes.
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