[Bouke Vahl]

NTSC based framerates are 30 * 1000 / 1001, or 24 * 1000 / 1001
So to be correct, it’s 29,97002997002997 and 23,97602397602398

For normal math, to calculate sync stuff for normal content (let’s say up to 2 hours), 29.97 is accurate enough, but the rounded 23.98 is not. 23.976 however is way better.
The difference between 23.98 and 23.976 makes for 0.6 seconds over an hour. And 0.6 seconds off, well, that is not accurate enough for us.

hth

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

[Steve Connor] “it’s that sort of comment that keeps people off this forum”

Well, it’s that sort of comments that keeps (some) people ON this forum.
Bob gives away free advice that normally should cost people a lot of money if he was hired as a consultant.
(You still hire him anyways if you are stupid like me and want to have your setup working, even if he lives at the other side at the world.)
In return he asks for nothing more than a place to vent his ideas, frustrations and adoration of hardware. And he’s right most of the time. (I disagree on hardware getting obsolete that fast, but that’s another discussion.)
I think that is a fair deal.
(To be honest, his tone is way less aggressive than it used to be, probably due to moderation here, but it has never bothered me, the opposite being more true.)

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

No. You end up with a sequence per clip that you have to open, select tracks and then merge.
For me batch syncing means pointing to video and audio, select the tracks you want as an option, then sync and end up with all clips. NOT touching all clips.
Not a big deal for a few clips, but if you have dozens or hundreds…

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

Perhaps I’ve scanned the page too quick, but I miss the ‘batch’ part if you have to touch each and every clip.

What am I missing here?

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

[Anna Heuss] “there is never a simple way in Avid it seems, sigh…”

I feel your pain. I was a seasoned editor with Premiere and M100 back in the days, taught myself.
When switching to Avid, I needed an expensive course to keep my sanity.

My advice, learn from an experienced editor, hands on if you like. The fastest / easiest way is never the most logical one.
However, Avid is still my weapon of choice.

(And don’t get me started on the function of filler, even now it is still needed to cut with black / filler to keep sync. That made sense with cutting film, but never ever on a NLE, except that the first versions had to emulate the old way of doing things..)

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

Since moderation does not kick in, can we PLEASE ignore this guy?
Foy you who do not yet know him, he will never every stop asking stupid questions nor will he do anything with the answers.
It’s a waste of time and bandwith.

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

I once had the honour to go to movie followed with a Q&A with Robby Müller.
It was a shocking experience.

Mr. Müller, on movie X you worked with stock Y, why did you pick it?
-Well, the producers wife had a few boxes left under her bed.

Mr. Müller, on movie X you used camera Y with lens Z, how did you make the decision to use that?
-Well, that was the equipment present on set, either the last or the cheapest ones available at the rental shop.

And the anecdote:
‘Mr. Müller, we would like you to shoot our next movie, and we want you to be as creative and original as you always are, do something totally new, and make it look exactly like Paris Texas.’

As any photographer will tell you, the best camera is the one you have on you.

(Kidding aside, don’t trust anything but your eyes. Be experienced with looking in the viewfinder and review on a real monitor back home. A good dP can expose based on what his eyes tell him when he looks at the set.
And the most important if you shoot with any form of LUTS, don’t do it unless you REALLY KNOW WHAT YOU ARE DOING. It will NOT be better in almost all of the cases I’ve seen, and I’m not in the wedding video industry.)

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

Well, if the specs state LFKS or LUFS, it’s a very easy job.
No need for roundtrips, as Adobe has a build in loudness tool.
For the Netflix specs:
(i did not watch the entire video, it’s way too complicated / sophisticated software for this job.)
The specs are really relaxed. Just make a nice mix, then do a very small (2dB) bit of peak limiting on the sound. (If the sound was recorded with a good field mixer with limiters on it is not even needed.

Then analyze the LUFS (LFKS), and up/lower the overall volume until you are at -24 LFKS. (Where a LUF / dbfs is 1 dB)
You can be off by 2, where any half decent attempt will bring you in a range of being off by just 0.3 or so.

Now for the old fight, in my case it was buying RTW meters (hardware peak meters with a lowered display of very short peaks to avoid madness, and correlation meters to warn about phase issues, from memory some 3500 UDS back then.)

But the OP suggests the specs are NOT about loudness, but about level. (And yes, those are two complete different things. On a normal mix, -24 LUFS corresponds with -10 dB (in digital, -1 analogue with 9 dB headroom).
But on a ‘fixed’ commercial, the same peak level at -10 dB should be lowered by 6 LU to become -24 LUFS.
(I really love the new R128 / CALM specs. It’s easy to make, gives you a tremendous amount of freedome and is nice for the audience.)

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

If you do editing, you stick to PP as much as you can. When you need an effect and PP is annoying you, switch to AE.
If you do motion graphics (and you don’t, or you won’t be asking this question) you work in AE and switch to PP to do long assembly work.
You really need a book or course to grasp AE. Adobe did not develop it, they bought it from a company named CoSa.
That was a long time ago, but the old CoSa way of doing things is still there. You can’t really compare the two, neither on functionality nor on interface.

Bouke
http://www.videotoolshed.com

[Bouke Vahl]

Hi Ron,
I know better than going into debate with you about what is humor, or good manners.
It is your site, and you can decide what belongs here and what not.
And I also totally understand that you want everyone to feel welcome here.
But that includes also long time pro’s like myself who get annoyed every now and then by behaviour of newbies / wannabees. (see the threads below here about personal messaging etc.)

Now, if you remove a post, could you at least leave the post empty / with a message ‘removed / moderated’ or alike?
(That makes for better reading in the future.)
Of course I prefer total removal (I believe we had this conversation before) over altering my words without my consent.

I’ll try to find other words to express myself, but I would appreciate that if there is some moderation here, it will also act on the trolling as well, as that annoys way more people than the one guy I might have offended.

Bouke
http://www.videotoolshed.com