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Feature film recorded in 44.1k
I am editing a feature film that was recorded in 44.1K and will be edited in FCP 7. I can easily change my timeline to 44.1k but read on forums that most folks will transcode to 48k prior to editing. Is that absolutely necessary? Or can I edit in 44.1K and let the sound mixer bounce to 48k from ProTools after the mix is done?
Boom mic was recorded using a ZOOM, and if we batch transcode to 48k, we may encounter a major re-linking problem since all the clips have already been logged….and each audio clip doesn’t seem to have a unique identifier like the video clips. There are probably about 20 ZOOM0001 files.
So should we just cut the film in 44.1k?
Thanks so much!
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5 Replies
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Whoever recorded at 44.1kHz, really blew it. See what happens when you try to edit at 44.1. But that’s not what FCP works best with. That’s CD quality…not production quality.
Dunno if it will work…do small tests. Smack the sound recorder who did that to you.
Shane
Little Frog Post
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Thanks for the input, Shane. I think the sound recordist is gonna get a bit more then a smack since an entire shoot day of audio is missing (so far). My next post will be about ADR!
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Total pain. All the other sound elements like ADR, sound FX, music etc will be 48. All the audio should be batch resampled to 48 before import and syncing.
Continuing to edit in 44.1 with the sequence set to 44.1 will become increasingly difficult as other sound elements are introduced with the right sample rate.
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Hi Michael,
Many thanks for your feedback! I noticed that all the lavs where recorded in 44.1k/16 and the boom at 48k/24, so I used Apple Automater and resampled all the 44.1K files to 48K in Soundtrack Pro.
So now I have fixed 48k and a mixture of 16 and 24-bit audio on the same FCP 7 timeline.
At this point, should I set my timeline to 48K/24-bit and just inform the sound mixer that I will be delivering a multi-bit rate OMF?
Thanks so much!
Daniel(PS, Sound recordist finally delivered the missing audio!)
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When you export an OMF, the audio is rewritten as new wave files being just the audio in the timeline plus handles that you define.
At that stage you set the bit depth so it is uniform. Set to 24 bit and the 16 bit audio will be resampled at that bit depth so there will be just the one bit depth.
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