[Accountclosed]

We use a Kona 3 board here but when I was researching a project that was FCP with BetaSP work tapes, somebody suggested using AJA and you said you had one of those, wouldn’t that work?

[Accountclosed]

One of the guys in the office here managed to fix it by right clicking on the grey audio patch area and clicking ‘reset panel’. So there you go! Thanks for the suggestions.

pam

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that’s the problem, those are the patches that are missing! (I knew I wasn’t explaining myself very well!) But the audio is definately there in the clips… I can hear it, and I can see the two audio tabs in the viewer but no A1 or A2 patches in the area you mentioned.

[Accountclosed]

thanks!

Pamela Bayne

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You know what I noticed when I put my 23.98 edit into a 29.97 sequence? It knocked some of my shots off my 1 frame. Outputting it as a DV quicktime and reimporting it seemed to work but apparently it’s a poor man’s pulldown, I mean it will work as a reference file for the audio but it’s not the best way of doing it. I read that After Effects can do it better.

Pamela Bayne

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I’m not totally sure why they want 29.97, they are a reputable post audio house and this is my first time working with 35mm so I just presumed they know what they’re doing. As for finishing, we’re doing a DI, I need to talk to the post production supervisor about whether its 23.98 or 29.97.

Pamela Bayne

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I actually do have picture lock so I know exactly what has to be fixed, it’s just that I edited it on an offline system so I have to go elsewhere for it to be onlined at a higher resolution. I guess I give the compositor the shots that have to have to be fixed from the online and then she gives them back to me fixed uncompressed and I incorporate them then?

Pamela

Pamela Bayne

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Thanks! I’m going to try that just now…

Pamela

[Accountclosed]

thanks, that does help.
Pam