[Bouke Vahl]

We’ve told you what’s going on.
You expect a 24 fps movie to have the same duration when you slow it down to 23.976.

This is of course not the case.

Get a util to change the sample rate by 0.1 % and be done with it.

My (free) QTchange app. can do so for you, and there are zillion other tools (all free) around that can do so.

No quality loss, just an unnoticable pitch shift.

Bouke

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

[Bouke Vahl]

nah, i’m in the Netherlands, where it is tuesday and a working day…

Bouke

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

[Bouke Vahl]

To be more correct (and slightly irritating),
the number should be 100.01 %

23.976 runs at 1000/1001 * 24

But if you need to speed up, that can only be if you want to sync the sound to a 24 sequence.
(23.987 runs slower than 24)
If you need to sync it to the 23.976 sequence, either you must speed down the sound, or something else went wrong.

Do a bit of math, is it indeed 100.01 %, or 100.1?
In case of the latter, kick the soundguy.

Bouke

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

[Bouke Vahl]

John,
The ‘restart FCP’ is a GOLDEN tip!
(I’ve bitched in my manuals a lot about DF BWF not working…)

How did you find that one out?

Bouke

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

[Bouke Vahl]

Gary,
Please enlighten me about P vs PsF.

I think i know my stuff pretty well, this is new to me…
(and way beyond the OP’s question, but that is not important now)

The way i see it, you can put a full frame progressive signal in an interlaced stream. You cannot put an interlaced stream to an output device that is not interlaced.
(well, you can, but an interlaced frame will show both fields at the same time, wich causes the lines that some refer to as ‘artifacts’)

Bouke

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

[Bouke Vahl]

This is not correct.
ANY device understands progressive.
A progressive signal in an interlaced stream only means that there is no time difference between the fields.

Displaying Interlace correctly is the issue here.

Bouke

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

[Bouke Vahl]

So if i get you right:
You have sequences that are fine, and export Audio only from those sequences, and they have different lenghts when you import them?

I’ve heard this one before, and it seemed a bug in FCP.
From memory, the trick was to export, then open / save in another app or something alike.
So,
Toy around with all the tools you have.
SoundTrack Pro, QT pro, all can export AIFF as well.
Even my (free) QTchance application (download from my site)
can export the sound of a QT as BWAF.

Testing with Avid is a very good idea, as avid is way more robust in these kind of things than FCP.

The bug may be related to drop/non drop, but it’s not a math problem.
You can always switch to non-drop, export as QT, then remove the QT TC in QT change, then add a fresh Drop QT tc track.

hth,

Bouke

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

[Bouke Vahl]

Well, it can be free.

Use my subtitler:
https://www.videotoolshed.com/?page=products&pID=12

It does exactly what you described (and way more…)

The free demo allows you to save / export 8 titles.

If you have more time than money, you can easilly save 8 titles a go, and in the end you’ll get there.

Now keep in mind that an average doc has about 600 titles an hour.
So a feature doc has about 1500 of them.

Don’t know if you have to translate as well, but even if it’s the same language, and you’re not an experienced subtitler, this will take you a couple of days, and that is,
IF YOU KNOW YOUR TOOLS AND HAVE GOOD LANGUAGE SKILLS.

I’m not sure what your rate is, but this is a tool that saves at least 50% of the time to create good looking titles, so it will pay for itself on this one job alone.

But besides the tool, i’m afraid you underestimate the job itself.
Text and timing, and knowing about read speed of humans, and how to be creative with words to fit everything in is an art by itself.

I would suggest, outsource it, or take a week or two off to learn the tricks of the trade.

Bouke

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

[Bouke Vahl]

[Lance Drake] “losing the moving-edge artifacts”

You still don’t get it.
These things are not artifacts. You won’t see them on an interlaced monitor.
Interlaced means two half resolution images in one.
We call them ‘fields’

If you watch this on a proper interlaced monitor, only one of the two is displayed at a given time.
(For this you need an IO card.)

Thus, Interlaced IS ‘reduced’ resolution.
On still images, you have full resolution. On motion, you have double the framerate at half the resolution.

Now moving images shot interlaced look horrible on a progressive monitor, and especially when you freeze frame it.
This is why a decent NLE displays only one field when you pause it.

If your output is for computer monitors, you can create a half resoltuion / double speed movie trough AE.
AE (if you interpret footage right) can render each field to a frame.
Thus, your 30i becomes 60p.

(Of course you need a bit of horsepower to play back those files)

And then you enter a new problem. 60p is close to the refresh rate of a common flatscreen, but it isn’t locked. Thus every now and then a frame is updated half way the refresh of your screen, showing you two frames at the same time.
This gives a ‘jerkey’ look, and it aint pretty.
No real solutions for that at the moment…

(at least not that i’m aware of)

Bouke

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

[Bouke Vahl]

Bas,

Mocht het moeilijk worden, ik ben te huren als free-lance consultant.
mijn nummer: 024 -3553311
Groet,

Bouke

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