Frame Rates and Audio

[Michael Gissing]

I suggest you find an audio post facility that can do the speed change to the audio and correct pitch. They can output wav or aif files that will sync to the PAL digi beta.

HDCam machines do a poor job of pitch correction compared to software like Pitch n Time or MPEX3. I am not a fan of the sped up 23.976 as I have had programs that it spoilt the edit pace and feel, even after doing the MPEX3 pitch correction.

The alternative is Teranex and real time. Still a compromise with hybrid fields, but the duration of the program remains constant and the one set of aif audio files will sync to all three versions.

[Michael Nichols]

Thanks guys. For the NTSC version, I do plan on using the Kona 3 from my original timeline. I could have phrased that a little better! I will try the cinema tools conform. Unfortunately, no Teranex for me, so I will see where the reconform gets me.

Thanks!!

Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com

[Michael Nichols]

[Dave LaRonde] “I don’t know if I’d do that. Since we’re in the FCP forum, and since you’re an Abel Cine guy, I bet your editing machine has a Kona card in it. I’d just make the SD master off the existing timeline. The Kona card will add the necessary 3:2 pulldown to get to 29.97, and it’ll give you a choice between Letterbox and Center Punch to get it to 4×3 SD.”

Silly question, but if I do my NTSC version through the kona from my original sequence, that will mean I will need to assembly or insert edit my SD bars and slate from a 525 sequence, correct?

Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com

[Michael Gissing]

You could insert SD bars after if you wish. I normally do a simultaneous output of SD dig beat and HDcam and don’t bother relaying bars on the digi tape. I don’t think anyone cares that much about bars and tone in the digital age. I have not had any tech rejects either with local broadcasters or international.

[Michael Nichols]

Not so much concerned about the bars/tone as I am about the slate, since I will have to deliver 5 tapes with different slate information (PAL 4:3, PAL 16:9, NTSC 4:3, NTSC 16:9, 1080/23.98psf)

Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com

[Michael Nichols]

LOL…I did the cinema tools conform and it certainly is comical. The motion is smooth and nice, but I am not sure how I feel about the audio…Sounds like everyone sucked on some helium.

Is this really acceptable around the world for films acquired in 23.98/24??

Will the Teranex cause issues with the image?

Abel Cine Tech – Rental Coordinator
Phantom HD Gold • Arri Alexa • Red MX •
212.462.0163 • mnichols [at] abelcine [dot] com

[Michael Gissing]

[Michael Nichols] “but I am not sure how I feel about the audio…Sounds like everyone sucked on some helium.

Is this really acceptable around the world for films acquired in 23.98/24??”

As I originally said, you need to send the audio to a facility that can change the length and not the pitch. Also the duration will be shorter which can be a problem for international broadcasters. Uncorrected audio is not acceptable.

The real time Teranex route is preferable in my opinion as it solves all problems with length and audio but it can cause some minor image issues.

[Michael Nichols]

I used compressor and set it to maintain the speed at 100% of the original and maxed out all the settings. I have an 8 core with a virtual cluster set up and it took about 13hrs to transcode. The results were pretty awesome and I didn’t need to do anything to my audio files.