[Bouke Vahl]

I don’t get it.
There is no speed difference. In both 23.976 and 29.97 a second is a second. Just that the latter contains more frames per second.
Audio runs at 48000 ‘frames’ (samples) a second, so it should match.

TC in wave files is not written as TC, but as samples.
(there is logic, like TC is upnumbering per frame, sound does that ass well)
So the NLE takes care of decoding the TC based on the fps set for the video.

Now two things that might bite you.
FCP is notorious bad with this stuff. It very often things you actually do want a speed change (like 24 to 23.976 or vice versa)
You need to set your setup right, then restart, then sometimes rename the files if FCP already sniffed on them.

If the TC on the sound recorder was set with the knowledge there will indeed be a speed change (ancient practice, as all cams can run at all speeds nowadays), you can use Wave Agent (free from sound devices) to alter it.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

No idea how to clean it up (i would outsource immediatly),
but since it seems a radio conversation, just cut to the one listening instead of the one speaking, and you got a free effect making it a real bad radio transmission.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

quick thought.
Avid exports Wave as BWF.
So if the clips are synced, you can export to wave and import those waves. (perhaps after an autosequence)
They then have the same TC (well, SAMS) as the synced clips.
Since the timestamp in BWF is NOT tc but Samples after Midnight, they should line up with the original 23.976

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

My trick is to add a mask around the most interesting part, and blur the rest even more.
This way the important stuff is sharper than the rest, making it less noticeable.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Not sure about DS, but MC can export to XDcam.
(copy the contents of an empty xdcam drive to the root of a drive to fool avid it’s an XDcam drive)

Then you end up with an MXF.
The XDcam tranfer tool (free from sony) can re-wrap this to a QT file.
(you need to do this on mac)
If you want to stay on Windows, you can use FFmpeg / FFmbc to re-wrap as well (and in fact it can encode it if needed)

If DS can’t write to XDcam, FCP can, if the xdcam transfer tool is installed. No need for a tape roundtrip, just export a clip and import in FCP…

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Forget about it. Even if you host it yourself (so you can have an unlimited length, hosting is always vulnerable to ripping.
(most simple example, do a screengrab, or point a camera at the monitor.)
Only way to make it sure is to travel around and show the piece while you’re present, on your equipment.

What is so top secret that you are afraid of abuse?

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Well, i could write you one, that won’t be that difficult.
But beside file creation time, don’t you have common timecode on both files?
That would be way more handy, not only for renaming…

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

How do you imagine your setup is?
You’re speeding up video. So in order to make the conversion happen either the player should speed up or your recorder should speed down.

IOW, if it isn’t build into the player/recorder, it ain’t going to happen in an RT box, as it would need to spit out frames for 25 fps that have not yet arrived as the 23.976 source is not there yet…

(remember, there are no frames added!)

There is a pulldown sceme, add a field every 12 frames as well as the .1 % speed change, but that’s concidered ugly…

Any reason not to do it in software?

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

Avid has DV as native codec.
So you could ama and consolidate, not transcode.
This will be lighting fast, and no quality loss.

Bouke

https://www.videotoolshed.com/
smart tools for video pros

[Bouke Vahl]

If you have a decent audio recorder that outputs timecode, it should not stop sending out TC unless you turn it off.

But that ‘should’ go for any device.
As long as you put the master into ‘free run’, and slave the other devices, it should not matter who of the three is the master.

If unsure, you can listen to the timecode. It’s an audio signal at app. +4 Db. You can hear if it is running or stopped (sending out the same frame over and over again), and of course you can hear if it is there or not 🙂

Before the shoot, you can slave (jam sync) all devices and remove the cabling, but most cams have a drift up to a second a day. So if you can, leave the cables on. If that’s not an option, get back together as often as you can and re-jam.

hth,

Bouke

https://www.videotoolshed.com/
smart tools for video pros