[Conrad Deleon]

whoa. I’ve never heard of Edius. I’ll check it out!

I’m a fan of Belden cables, and I know Grass Valley as well.

Thank you, Ronnie.

[Conrad Deleon]

Yes 11% sounds like a lot! I’m filming corporate events where lectures can go on for hours. The scenario I’m bringing up is when two devices are recording audio at the same sample rate at the same event. One recording device is the camera audio; the second is the audio mixing board. I’m adjusting the mixing board audio to match the camera audio. Once matched, I delete the camera audio and use the audio from the mixing board.

I know that this sounds like a ton of trouble, but the mixing board audio sounds so much better!

• BLUE AUDIO is CAMERA AUDIO
• GREEN AUDIO is EXTERNAL AUDIO
• 75 minutes at 30 FPS (using 30 instead of 29.97 just to make this easier)
• 75 minutes = 4500 seconds = 135,000 frames
• External audio shortend by just over 6 frames in order to match transients in camera audio.
• ~6 frames is .0044444 percent of 135,000 frames.

[how’s my math? =\ I’m still a little fried right now]

First picture is UNADJUSTED audio.
Second picture is ADJUSTED AUDIO

When the adjustment is rendered at High Quality, I cannot hear any artifacts, which makes sense give the percentage is so small. I find it super interesting that Adobe Audition does not even show this percentage in the ADJUSTED audio file. Audition shows 100% in both the unadjusted and adjusted files. I should point out I am not worried about artifacts since I do not see drift going over 1%. I’m just looking for alternative workflows. I’m also just curious how other folks compensate for tiny audio drift between two devices that simultaneously recorded a single event.

Just as Creative COW will not approve of uploading copyrighted images, I believe it’s the same for copyrighted audio files. Indeed I do not own the rights to the audio, so I’m not posting it. I hope the screen shots help illustrate the workflow I’m describing.