Unable to import Audio to Resolve

[John Petersen]

The answer is…
48K vs. 44.1K
Why the change I can’t say, someone screwed that up.
All the 48K went fine and sync worked perfectly.
We fixed the 44.1K outside of Resolve in Adobe media encoder.
Should/Could Resolve be able to bring in all audio and allow me to see the problem file instead of completely ignoring the file?

Thanks
jp

jpcolor

[Michael Tiemann]

I am also having problems…importing 96K audio files. I thought Resolve was more forgiving than that…

Manifold Recording
Pittsboro, NC
https://manifoldrecording.com/

[Glenn Sakatch]

Download wave agent. It’s free. I routinely load up all the audio files in it ahead of time to check whether the files are 44 or 48 (or what i’m getting now which is 48048?), you can check timecode status, and scene and take information.

At the push of a button, you can alter any of the attributes, or batch everything. Make a copy of the originals, as the program defaults to over writing the files, but i believe there is an option to make new versions.

Glenn

[Marc Wielage]

[Michael Tiemann] “I am also having problems…importing 96K audio files. I thought Resolve was more forgiving than that…”
96kHz is extremely non-standard and never used for dialogue in film production, to my knowledge. If you need to use that for your project for some reason, then I would sync it up after the fact outside Resolve.

[Michael Tiemann]

I used Adobe Audition to batch-resample all my files (which are music files coming from a high-end audio project). But I am still so shell-shocked that Resolve chooses to crash with no message rather than protest that I’m doing basic grading in Resolve and finishing in Premiere. I simply don’t want to find myself trapped in some rabbit hole where I’ve invested all kinds of time in Resolve that I cannot then port over to Premiere. If Resolve were better behaved about what it didn’t like, I would not fear pushing its boundaries.

Manifold Recording
Pittsboro, NC
https://manifoldrecording.com/

[Marc Wielage]

[Michael Tiemann] “But I am still so shell-shocked that Resolve chooses to crash with no message rather than protest that I’m doing basic grading in Resolve and finishing in Premiere.”
I can’t argue with you there. The program should have good enough error trapping that it should just pop up a message and say, “audio source files must be 48kHz for import” or something like that.

But I do think 96kHz is way unnecessary for normal location dialogue. I don’t dispute that it’s used for high-res music and sometimes for sound effects gathering.

[Michael Tiemann]

Mark, we agree. My project is a documentary about how a record is being made inside a high-end studio. The studio’s digital infrastructure is all 96K, so I’m using the studio’s digital files as replacement audio for what I captured from the cameras. As everybody knows, the Blackmagic Cinema Camera’s audio capture capabilities (even when fed line-level signals) is so horribly bad that it is only useable as a guide track for synchronizing audio. If those cameras could capture a clean analog feed and not wreck it with a terrible preamp and inexcusable EQ and noise, then I could just feed the camera analog and be done with it. But since I cannot, I’m stuck with the digital files, hence my predicament.

I’m pretty happey with the BMCC video quality (much better than my other cameras costing less than $10K each), and Resolve does great things with BMD Film captures. But its been a real slog for me dealing with the gaps between what Resolve can do, should do, and will do in a workflow that requires multicamera editing, 96K audio, and AVCHD decoding. Which is why Premiere is now the 80% of my 80/20 workflow, rather than the 20% I anticipated when I started.

Manifold Recording
Pittsboro, NC
https://manifoldrecording.com/

P.S. Here are two excerpts of some video showing the environment:

https://www.youtube.com/watch?v=HQeNrqrBeiA
https://www.youtube.com/watch?v=T10Aztlu_1c

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[Marc Wielage]

Well, if you’re making a video showing the inside of a high-end studio, then what I would do is just have a scratch track for video editing, and when you’re done, export an OMF or an XML and reimport all the 96kHz tracks into Pro Tools and reconform the project. Do all the sound editing and mixing within Pro Tools, and then combine it all in final delivery. This is pretty much what’s done with every major studio TV show and movie ever made.

Trying to do it all within Resolve is counterproductive (to me). I know that Blackmagic’s intention is to position Resolve as a potential “all in one” finishing tool, but I don’t think it’s ideal for sound — just as I think it’s a bad idea to try to do color within FCP or Premiere. It’s just a question of using the right tool for the right job.