[Andrea victoria Calderon]

I figured it out. I wasn’t exporting the audio as AAC in 24 bits, 64khz (recommended setting) , that was the whole problem. I tried again, and it worked like a charm, that tic tic sound went away. I’m so happy ?

Thanks for your time Shane! you rockz!

[Andrea victoria Calderon]

The video files are already ProRes. I finally got them to sync, so happy. Now there’s only one tiny problem. I exported one section of the media to take a look at a sample export, and there is a tic in the audio. Everything looks perfectly in sync but there is a tic in the background (which doesn’t sound at all in the timeline in FCP)

So my guess is there is something wrong with my export settings?
Gosh, it’s all so technical.

Thanks for your help.

[Andrea victoria Calderon]

Sorry, I should have been more clear.

So, we did not use a slate because we didn’t have one. But there was a clapping of the hands, and every scene and take was read out lout just like you say they do on set, we did all those things. I can see the sound wave of the audio that was recorded on the ZOOMH6, as well as the sound wave that the t3i recorded with the built in mic. What I don’t know how to do is to sync them in FCP.

I was told it’s easier to do in Premiere, and that I could work an XML file back and forth, but I want to stick to FCP.
I’ve seen videos on you tube but I still can’t get the hang of syncing the clips.

I’m kind of desperate.

Thanks Shane ?

[Andrea victoria Calderon]

Forgot to mention, not a slate, but there is a clap of the hands in every take, recorded separately, and with the build in camera mic. This is my first time syncing separate audio. Have never edited like this before, and I don’t wanna mess it up.

Thanks for your help Shane

[Andrea victoria Calderon]

Shane!

Would you recommend any video tutorial for learning how to properly sync audio (Zoom H6, at 48khz) that was recorded separate from video (h264, 23.97 fps; trans-coded to ProRes LT) I’ve read other posts in the forum that recommend using Wave Agent, but I’m still unsure as to how it actually works. Haven’t gotten the workaround from the reading.

Also, should I use the WAV file or convert to AIFF. I know there is an issue with FCP adding a frame rate to the WAV files, thus causing lagging/speed change problems with the sync.

As always, thanks for your time ?

[Andrea victoria Calderon]

Jessica!

How do I create a Blue-Ray for a ProRes 422 LT master (trans-coded), because the original footage is h264, shot on Canont3i; maintaining the best possible quality. I don’t understand the part about making “streams” of h264

Thanks for your time ?

[Andrea victoria Calderon]

Cannes pre-selection conditions:

• 35mm film print
• HDCAM / HDCAM-SR
• DCP (Digital Cinema Package): Server JPEG 2000 (model DOREMI DCP 2K4)
The server reads only JPEG 2000 files. Available connections: CRU bay, e-Sata, USB.
Once your submission is complete, contact the Film Department for the server certificate and for details of how to send your KDM.
• Beta SP (Pal, NTSC) or Digital Beta (Pal, NTSC)
• Blu-ray Disc + 1 standard DVD (if you send a Blu-ray you must also send us a standard DVD of the film).
• DVD (Standard)

The footage was encoded H264 (canon t3i) , trans-coded to ProRes LT, half of the raw footage lost on location… sadly…

wow there really isn’t one last question. it’s a sea of information. I’ve read Apple’s white paper so many times and I still have doubts. Sort of of new to a lot of technical issues.

Thanks!

[Andrea victoria Calderon]

You the man! all clear now. Just one last question ? could a decent DCP still come out of it? even though I should be fine with DVDs and Blue-Ray for screenings and festivals…

Also, is it true that considering data rate, h264 could be considered the equivalent of DVC PRO HD (been coming across information and codec comparisons, and wanted to clarify that.

[Andrea victoria Calderon]

Shane you are an angel! Thanks.

One more question, I’ve read that HQ is a standard in Hollywood for color correction because of the color information.
With this in mind, is ProRes LT good for color correction as well? The reason why I’m using ProRes LT is to not compromise space on my hard drive, the file sizes are great for that, and also the data rate of the files.

I know I can always reconnect and up the ProRes, but for this project in particular, we are missing half of the raw footage… technical issue when the files were being copied from the card on location.

THANKS a lot!