Is there a setting for 12 bit?

[Bouncing Account needs new email address]

[Scott Witt] “Can this just be rendered or “mixdown” to fix any forseeable problems.”

If you HAVE any problems, that should do it.

If you find you have “sync-slippage” after capture, It might be better if you capture in no longet than, say, 10-minute clips.

But you probably won’t have any “problems” anyway.

[scottwitt Scott witt]

Thanks, I dont use 12 but very much and never have had any real problems
anyways.

Thanks,
Scott

[Gary Hughes]

I assume you’re talking about 12-bit audio. Simply capture all the 12-bit reels with a 32kHz setting and you’ll be OK. It’s fine to use 32k audio on a 48k timeline. If you don’t capture it correctly, you may never see the problem, but on a long clip, it will eventually slip out of synch. It has to be a long clip before you will notice it, so you may go through a lifetime capturing it incorrectly and never see a problem, but why take a chance.

Here’s what I do, since I work in primarily DV, I simply duplicated the default DV NTSC 48 kHz capture preset and named it DV NTSC 32 kHz, then I edited it and changed the audio format to 32kHz. I can choose that when I’m capturing tape that was recorded with 32kHz audio.

Hope this helps,
Gary

[Bouncing Account needs new email address]

[garyh357] “but on a long clip, it will eventually slip out of synch. It has to be a long clip before you will notice it, so you may go through a lifetime capturing it incorrectly and never see a problem, but why take a chance.”

There is actually no reason that this “must” happen (and in years of editing with FCP, 32k and 48k, it has NEVER happened to me, not even once.)

The sample rate is based in SECONDS, regardless of the number of individual samples PER second.

So “sync” should not automatically “slip” as long as the sample-rate per second remains consistent.

Sync slippage COULD occur even in 48 kHz files if the camera is not “solid” in its audio sample rate.

But there are users who DO experience this, and capturing in approx. 10 minute “segments” will most-times solve the issue.

[Gary Hughes]

Not true. Not completely true anyway. Yes, it takes really long clips before you see the out of synch issue, and therefore you can go for years without ever noticing it, most likely. Therefore, go for it, if you want to. I like to think of myself as a detail oriented person when it comes to my work. It’s just simple logic for me. If something was recorded at 32k, then capture it at 32k. Anything else is not correct. If you choose to ignore this, you will probably never have a problem, but that doesn’t make it correct, in my opinion.

Thanks,
Gary

[Ben Oliver]

i just captured 10 hours of footage shot by a band on the road, shot in 32k audio, and only had one tape go out of sync. (digitized it in hour long segments, and digitized it to 48k.)

its really finnicky

[Gary Hughes]

That’s one too many for me. Why not just take 2 seconds to swith the preset?

I just finished a job where the footage came from photogs from all over. Some were 32k and some were 48k. The producer has an iBook and he captured the linecut from the multicam shoot, plus all the testimonial footage from all the different photogs. He did everything at 48k while I captured everything with the same setting it was recorded at. His stuff was often out of synch while mine was dead on. Between the tiny effort to change the preset and the huge benefit of peace of mind, I’m always going to capture 32k at 32k and 48k at 48k.

Have fun,
Gary