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How do I properly line up audio waveforms to a clapper?
So I just figured out how to do sub-frame audio editing in FCP, but now this has brought up a discussion as to where the audio waveform should be properly placed.
So in the 24fps time line I go to 1 frame just before the clapper has struck and then now I move forward 1 frame to where the clapper is closed, I can’t figure out where to put the waveform. Should the very first peak of the waveform line up on a phsyical frame where the clapper is closed? Or do I move slightly earlier a small fraction of a frame so that the waveform lines up where the audio would have hit if we were shooting faster than 24 fps?
I have read that it is better to be late, but I want to be right on. I cannot find an example anywhere online. I hope that this is worded to make sense.
Thanks for the help!
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4 Replies
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Tutorial on SUb-Frame audio editing can be found Here, at ProAppsTips.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
I understand how to physically move audio clips around. I don’t understand the logistics of the placement of the waveform as explained in the previous question. Do I match the waveform to a frame, or do I match the waveform to a spot on the time-line between the two frames where the clapper would have hit?
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Just match the SOUND to the picture. When the clapper finally closes, you should hear a CLAP, or the beginning of a clap. Once you do that, your job is done.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
When I’ve been syncing features, I like to subframe edit and slip the spike of the clap to the front edge of the frame, which puts the greatest amount of the clap sound on that frame.
However, I also check sync against the voices based on the shot distance, because sound travels about 1000 feet per second, or about 41 feet per frame at 24 fps, so if the actors are 20 feet away, a half of a frame makes a slight difference.
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