Alex Saggese
Forum Replies Created
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Steven, thank you very much for all your help and effort. I checkd with the guy that captured the sound and he said that he never turnec the “C” on. He also said that if it was on it probrably wouldn’t have synched on the telecine. So far it sounds like I’ve found a solution and I posted it.
Thank you very much for your help again,
Alex
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I’ve figured it out. The problem was the timecode at which the audio was imported. BWF audio has no info whether it’s 30 and 29,97, so FCP assumes the TC according to your sequence preset at launch. That means you have to change your sequence settings, quit FCP and restart. I read this at another forum, so I went to give it a try.
I used one setting that uses 30 fps (and not 29,97). Quit FCP and reentered. I created a new project to start from scratch and reimported all my audio and 24fps video. Created a 24fps sequence and put the video. This time it lets me sync without trying to change the speed. If I copy the audio from this project to the old one it doesn’t perform the speed change either, so I guess everything is fine.
I also tryed redoing the whole process with sequences presets of 29,97, 24 and 23,98 and none of them worked. Always got the audio out of sync because FCP sped it up. I also tryed the sequence preset think without quitting FCP and that didn’t work either, so I guess they were right when said that what counts is what’s set at launch.
Hope that helps anyone that ever encounters the same problem, since the solution is not very straightforward…
Thanks for all the help,
Alex
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Tha audio is already separate from the video. It syncs if I convert it without TC but doesn’t if it has TC.
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Sorry, Cantar Audio at 48.000 TC 30 NDF.
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It was a Cantar. Audio set at 30NDF.
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I think I can work in either 24 or 23,98. The difference is that using 23,98 I can output directly to firewire, but I don’t need that. With the reverse telecine at 24, my media goes back to its original speed and I shouldn’t need to pulldown the audio.
Audio files don’t have frame rates but are recorded with a timecode. The timecode is used to inform most systems about pulldown. For example. if you record DATs on location in 30 NDF and perform a telecine to 29,97 when you pulldown your DAT player, the TC rate will also be 29,97. That sounds uninportant in the computer world we live today, but if you’re synching between your DAT player and your Beta recorder, it won’t work if your DAT was not recorded at 30 NDF. There’s no way it will sync, so the audio timecode is important.
BWF files have a starting timecode on them, and that timecode is important for post production. The starting timecode is recorded the following way: The number of samples since midnight, so if you use 29,97 or 30 you will get a different starting timecode and the timecode will have a different rate during play. I can’t have that, so I need it to have the right timecode.
If audio is sped by .1% some people call it a pullup, so that’s why I used the term. When your final product is going to be film cut from negative, but all your audio is mixed at 29,97 using video tapes, you need to perform an audio “pullup” to sync back to your film. In reality you’re just removing the pulldown.
On my telecine tapes, I only get 2 channels, but on my BWF files, I get 4. I need them all, so I can’t use the audio from the tapes only.
I know the problem is how I’m handling the audio files, and I think it’s got something to do with the way I import them in FCP. In other systems that cut film, it really matters for your sync if you import your audio in 29,97 or 30. I haven’t seen that option in FCP and for some reason it’s trying to change the speed of my audio when it doesn’t need to, so I’m assuming that’s the reason.
It’s my first time cutting film in FCP, I’ve always used Avid. I’m a fan of FCP and would like to give it a try.
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Sequence is set to DV compressor Timebase 24 Audio Rate 48 kHz. Video plays fine. Audio captured from tape is also in sync. Imported audio does a sample rate conversion to speed up the audio when I place it on the timeline.
Alex
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Reverse Telecine equals 24 fps, audio equals 48000Hz. I know that if the audio is played at the sample rate at which it was captured it will sync with my video at 24, but FCP won’t let me play the audio at that rate. It performs a pullup. It tells me it’s performing a pullup, it shows it right at the timeline.
I still think the problem is the timecode based, because if I convert the audio to aiff, for example, that has no timecode stamp, using the same sample rate, it works.
I think that the pullup happens because it assumes that the TC is 29,97, and to sync to 24, it needs a pullup.
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Hi Steven, Thank you for your reply.
I think maybe it didn’t fully explain what’s going on. I want to work in 24fps and use the audio without pulldown. Everything was captured properly. The audio synched at the telecine. What happens is:
If the reverse telecine is in 24fps, when I put my audio in the 24 fps timeline, it pulls up my audio. It even indicates it on my timeline saying that it’s using a sample rate conversion to play. Well it shouldn’t do anything, it should leave my audio unchanged so that it syncs.
If the reverse telecine is in 23,98, it doesn’t do anything to my audio, but it should perform a pulldown.
My guess is that it’s assuming my audio timecode is 29,97 NDF instead of 30 NDF, so it thinks it needs a pullup for 24 and no action for 23,98. I haven’t managed to import the audio in 30 NDF, and I haven’t seen any options for that. I want it to assume that my audio doesn’t need change in a 24 fps timeline.
Thank you again,
Alex