[Aaron Neitz]

“The DSR-11 can record two channels of audio with 48 kFs/16 bit or four channels of audio with 32 kFs/12 bit sampling that is selectable through the menu.”

Why would anyone want 4 channels of 32k audio? Be certain you really have a 4 channel sequence and that in Audio Meters you really see 4 output channels bouncing. Can FCP even output 32khz audio over firewire???

[Aaron Neitz]

There isn’t any setting higher than 30hz when you’re in 1080. It’s basically no good as a desktop monitor because the refresh rate is so bad (it looks jerky and interlaced if you drag windows around). All it’s good for is displaying HD video.

Also you might be seeing the HDlink lose the PsF order… if you’re feeding it HD video and it’s looks all interlaced… just unplug the HDlink power and plug it back in – should lock to the sequencing.

[Aaron Neitz]

Have you selected Panasonic-422 in your deck control prefs? I just insert edited a clip of 1080p w/ 8 channels of audio flawlessly onto a D5.

[Aaron Neitz]

I fixed it but would still like an explantion.

Cinema Tools – open the file – conform to 24.0 fps and save. AE now reads every frame correctly, and I can render it out 23.976. What is causing AE not to read 23.98 fps correctly? Version 6.5

[Aaron Neitz]

Try this: when you get your 24 mix back, put it to your timeline and make sure it all matches. Export the movie self-contained, tell Cinema tools to coform the frame rate to 23.98, bring it back into a new 23.98 FCP timeline, and put the 24fps mix against it… then speed modify the mix to 99.91% and it should be in sync. Then that’ll export fine for DVD.

[Aaron Neitz]

Ok, how in the world did you get 24.0fps media from BetaSP? And then all your sequences are 24.0fps *for sure*?

Most sound editors can work at 24 or 29.97 – 29.97 is the exact same speed as 23.98 in terms of slowdown. So if I’m editing in 23.98 HD, I run a 29.97 Digibeta downconversion which adds 3:2 to make up the frames and give that to him to mix to. The files he returns match perfectly with my 23.98 timeline.

If you’re REALLY in 24.0 land, export a QT at 24, give that to him, have him work at 24, and bring that file back in. When you export for DVD everything is going to get slowed down the 1% – though I have no idea if Compressor will correctly handle the slowdown on audio.

[Aaron Neitz]

Yes – this works with our Kona cards, Decklink cars, and Io stations – If you make a custom digitize preset at 23.98 fps (dupe your normal 29.97 DV and just change the timebase) and capture all your clips on the *A* frame, it’ll 3:2 remove on the fly. HOWEVER, in your clip it’ll still be referencing 30fps timecode – so you’ll see it going :04 :05 :07 :08 :10 or something like that. So you’ll need to Modify Timecode of your clips and restripe them with 24fps code before editing.

[Aaron Neitz]

Digibeta can record 4 channels of audio. So the best you can do is get a Pro-Logic stereo mix done. But even then, it’s typically just a simple stereo mix.

For most network HD delivery they’ll ask for a D5 with 8 channels of audio. So from the mix house will give you 7 aiff files that you tell FCP to lay off to each of the D5 channels discreetly. So 6 aiff’s for your 5.1 mix (lay off to channels 1-6) and a stereo aiff that’s the downmix (layoff to 7 and 8).

I don’t know about HDCAM – we’ve never delivered anything on it. I’m assuming it can do 8 channels of audio… but don’t quote me on it

[Aaron Neitz]

Try condensing your project – deleting all the old cuts…. every sequence has to be accounted for when you load a project file and can cause mass havoc, – in our case doing some feature film work we were getting into 8 minute load times on G5’s – condensing reduced that to 2.

more RAM would help… and footage over the cat5 network is doable in “most” situations. Also 5.1 solved some reliability problems over 5.0

[Aaron Neitz]

IMHO maybe it’s best to hire out an mix house to do your 5.1. it’ll take less time, it’ll sound great, they’ll know how to properly balance channels (not a small thing to be overlooked), and they can provide you a properly downconverted Pro Logic stereo mixdown as well (which most HD programs require along with the 5.1).