Al Bergstein
Forum Replies Created
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No sorry Ty. The cameras are all the same. If you look at the screen captures you will see that the drift is ONLY in the lower track which is the Tascam recorder. All three cameras were fine. Not sure how I can be clearer about this.
Al
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Hi Richard if you look carefully there are actual multiple audio tracks above the one on the bottom that show all three cameras audio tracks. But the short answer is that all three cameras synced perfectly using Adobe’s audio sync capabilities The only track with any problems at all came from the tascam on the bottom. I recognize that genlock wasn’t used, and I’ve never used it and never had this problem as before. I’ve never even encountered audio drift in any of my productions prior to this except one that was shot with an older SD video camera that used tape . I certainly recognize it could’ve happened but it never has.
I’m not going to bother with calculating the percentage as asked because it starts out quite far out and then slips into sink within 20 seconds, and the rest of the four minutes or so of the video is totally in sync on all tracks. That doesn’t seem to point to a typical audio drift issue where’s something starts out in sync and then drifts out of sync as time progresses
Or at least that’s how I have always understood it to be definedI’ll leave it up to my sound engineer to investigate his equipment and figure out what the heck is actually going wrong, but I appreciate the feedback it’s been helpful to think about that .
Al
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Thanks. The bottom green track is the audio recorder and the upper tracks are the audio for the video. All ended in sync and in the past 43 videos we’ve shot on this project, never have I seen any drift at all.
There was no professional sync of the cameras and audio. I usually use a clap or a slate.
It started out of sync and drifted into sync, as these additional shots show.
The timeline shows about 20 seconds of the issue. It didn’t drift *out* of sync, it drifted *into* sync.
These are far more than a few frames, as they are a couple of seconds out of sync to start.
Used two different scales here.. Click on the photos to expand them and see the timeline at the top.
Luckily, because it is at the beginning, I have a fix for it to cover the video with titles, etc. If it were farther in the shoot would have been a lost cause.
I’m buying a much more pro level sound recorder and telling my audio guy he’ll have to use it. The new equipment will have jam time code so I’m hoping it will help.
Hope this helps! and I hope this is useful to others who face the issue of what kind of gear to buy/rent. Again, buy the best, though everything can fail.
Al
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By the way, I meant to mention that the track is recorded at 48kHz just like it always is. All cameras are synced to
Image Size: 1920 x 1080
Frame Rate: 29.97
Source Audio Format: 48000 Hz – compressed – Stereo
Project Audio Format: 48000 Hz – 32 bit floating point – Stereo
Total Duration: 00:04:31:15
Pixel Aspect Ratio: 1.0
VR Projection: NoneJust so the obvious questions are answered.
We’ve worked with this footage and this recorder for 47 videos now and this is the first time we’ve seen this.Al
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Yes. I I have used the black magic switcher and have used the 105 in the past.
Al
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I’ve never had any luck when this has happened. Your only hope is to purchase a couple of different programs and try it, but frankly, I don’t think you’ll be successful. The best tool I’ve seen for this Disk Warrior. Losing disk data is the reason I bought cameras with dual SD slots, at greater expense. Very sorry this happened to you.
Al
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I shot the following video a couple of years ago using the xf 305. i have primarily used it for indoor stage shooting ….
https://vimeo.com/68819395Al
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Are you using a card to white balance before your shoots? Try making sure you are white balanced (or grey card) and expose properly. With 0 to -3 gain it should look pretty good.
This was shot with an XF100 and it has plenty of shadows and not much noise.
https://vimeo.com/47690375Al
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I respect John’s perspective, and it’s valid. I chose to go to Adobe’s model because of Apple’s abandonment of FCP 7. I have significant projects that I created in that earlier version, and Apple’s decision to just leave us all behind was the final straw, pun intended.
I think that your need for more RAM would depend on how much special efx you are using on your videos. At one point Pr was crashing and I discovered it was running out of memory at 16GBs. Upgrading to 32 fixed the problem.
It has been a boon to me to have access to all of Adobe’s products for the monthly fee. Using Pr, Lightroom, AfterEffects, Photoshop and Acrobat Pro among others all for one monthly price is a good deal, IMHO.
The fact that FCP only runs on Mac is a liability to me. If I need to move to Windows for some reason, I know I can move the application over. Given the newer Mac Laptops I’m staying with my older machine for now. Apple is lagging in technology compared to the Windows world, (in hardware). Looking forward to them bringing out machines with touch screens, 64GB RAM, etc. are some of the technologies that Apple feels we, as pros, don’t need. I prefer the idea that HP, Dell, Lenovo and MSFT are doing, which is pushing the envelope. Also, Apple’s lack of innovation on the MacPro also is not great.
As to leasing, it moves the cost of the software to the other side of the balance sheet, meaning it’s an expense rather than a depreciable asset. FWIW. Some folks might find that useful, I do.
Hope this helps you sort things out.
Al
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I guess I would answer that if it were me, by asking what I was shooting every time I shoot. Is it always video? Then likely I would stick with Canon, and just upgrade. You say you do standard interview work, well, the C100 type camera is a breeze to setup and use. No fussy bits to manage, dangling off the camera.
If I were seriously looking at moving into a lighter weight and kit, and I shot a lot of stills (which I do), then having one camera to do both well is worth it. It still remains to be seen as to whether the GH5 can run in an theatrical setting for hours, allowing me to switch out cards seamlessly, as the C100 etc. can. To me, the gh5 is engineered for clip shooting as opposed to long running hard core video production work. Their chief engineer admitted as much on his Youtube intervew. So I’ll keep my C100 for a while, and see how hard I can push the GH5. As to sound, I usually add my Tascam 70d under the unit, and run the sound into there. Very nice dual recording settings for 10db lower. Hardly any weight gain.
Go on Youtube and look at some of the work that’s been done with the prototype cameras, including the one on “ice” in NYC. Very nice look to it. However, you could have shot the same thing with a C100. There was nothing special about the GH5 look in it. But it was beautifully done and showed off a bit of it’s low light ability. I think the samples in low light look distinctly better than my GH4 was. Noise looked remarkably smooth and not ugly.
Good luck! I’ll go shoot some stuff with mine when it arrives. Hope to give it a shake down against my C100 just to see where the differences lie.
Al
