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I don’t see any A/V INPUT recording features listed by Canon for this camcorder;

MOST camcorders do NOT have this feature, only a select few DO have it.

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I read your last post again and noticed that it looks like you were the DIRECTOR as well as the editor (I do this myself.)

You can usually trust a standard CD player to play a CD at exactly the correct speed.
I use standard portable CD boom-boxes for playback (“lip-syncing”) during the shoot and have never had any sync-slippage in post.

I have no idea what kind of file was used for playback in your shoot, but any digital audio file should play in sync with your video.

If you ever get this resolved, I hope you post the steps you took.

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Sample rates, properly converted, should not change the LENGTH of a track.

All are based on X-Hz per SECOND (time) and, if converted properly, they do not change lengths.

As an editor, you likely would have little-to-no say in most shoots.
If you were asked, of course you should offer opinions.

If you work for a production house where all there can offer input to projects, you could have more opportunity to discuss these kinds of things.
But in many (most) cases, editors are not consulted by the shooters.

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[Kathy Chatham] “During the shoot the music was played back for singers using a computer and only the camera mics where used to record audio.”

Yet the title of your post says “CD Audio.”

Was the computer playing a CD track during the shoot?

Where is the CD?

If you get that CD (or a cloned copy of it) it should sync perfectly with your video.

I have synced many, many times, dead-on, to video “lip-synced” to a CD during a shoot (for up to an hour, straight-roll) and not slipped a frame in post.

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[Rafael Amador] “Make sure that the sequence have the same Time Base (DF or NDF) that the sequence in which you will edit. “

Timecode format (DF/NDF) means nothing in regard to speed or length of playback.

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I’ve never had any trouble using either sample rate.

Just put it on the timeline.

Set your audio playback to, say, 20 real-time tracks so that FCP will allot plenty of ram to playing the files.

If your timeline “beeps” at you after that, render the tracks.

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Sorry say that there is no accurate chroma (color) info on the tape.

Perhaps change the color or the footage to a more pleasing shade, or make it all B&W.

Otherwise… I’m afraid (short of a re-shoot) you’re toasted.

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Put the video that you are dissolving TO or dissolving FROM on a video track ABOVE the logo.

Then, ramp the video opacity on the top track to cover the logo.

This is also the proper trick to use if you are fading to/from black on a complex, multi-layer timeline. Black would go on a track above all other video tracks.

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[Anne-Marie Lucas] “how you go from 720 x 576 to 720 x480 without having to crop the picture or change aspect ratio? “

You can allow black bars on the top and bottom. (A small “Letterbox”)

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How are you monitoring your image?