[Darren Edwards]

If your video is running at 50FPS but the audio’s at 25FPS
it’ll sync up perfectly. If not, then you’re in the realms
of pulldown and audio drift – but again, not difficult with
an NLE or After Effects.

D.

x-gf.com

[Darren Edwards]

It sounds like your video is running at – for example, either
50 or 60FPS – but Audition is importing the audio at regular
25FPS (PAL) or 29FPS (NTSC) settings.

If you speed up your audio by 200% in Audition in may solve
the problem.

Effects – Time/Pitch – Stretch – Speed Up – Ratio dailed to
‘200’(%)

This problem is much easier to solve with an edit suite.

D.

x-gf.com

[Darren Edwards]

Well, at least keeping it 4:3 you know you’re not
losing anything. 🙂

D.

x-gf.com

[Darren Edwards]

After experimenting with Red Giant’s new SD-HD up-res’ing
software, Instant HD, I think it’s possible to regain the
res lost in 4:3/16:9 re-ARCing.

After opening a 16:9 project, importing the 4:3, re-ARCing
(Aspect Ratio Conversion) the image whilst losing some of the
frame etc.; in AE, FCP or Premiere, import the file into a
720p project, apply Instant HD, up-res to 720p, render out,
and then import the 720p version into a regular SD 16:9
project and then resize down. It’s only a theory, but after
witnessing how well Instant HD up-res’d some of our DV AVI stuff,
I think it could work.

A couple of notes.
Instant HD will (currently, at least) only work with
progressive footge. That said, it’ll even up-res DV AVI
to 2K, although goodness knows how awful that’ll look.

When up-res’ing DV AVI to 720p, Instant HD’s palette has
a Sharpness dial which will also help regain some quality
lost during the 4:3 – 16:0 reARC.

Tryout version is fully functional but with a waterwark –
a mild peppering of tiny R, G and/or B pixels).
https://www.redgiantsoftware.com/instanthd.html

Good luck,
Darren.

x-gf.com

[Darren Edwards]

As Willie pointed out, noise reduction is a tricky business
when the noise you want to remove is so overt. Linked is
an example of your clip using Audition’s regular noise
reduction tools at (almost) max strength. You’ll notice
that the offending ambience has been removed but what’s
left in its hole is noise not dissimilar to mp3 compression.

https://www.x-gf.com/misc/UL_consent_after.mp3 (900k)

Notes:
– The mp3 compression-type noise existed before the clip
was saved as an mp3.
– I’ve left a couple of seconds of the original file at the
beginning for comparative reference.

Darren.

x-gf.com

[Darren Edwards]

You’ll probably get a few people willing to help with
this – I’ll look at it over the weekend, too.

Darren.

x-gf.com

[Darren Edwards]

Traditionally, audio for TV had a max of -1.5db, and for
film -6db. Some say that this information is now obsolete
due to the number of home-cinema systems out there with
expensive speakers, but I personally still ‘hard limit’
(using Audition, e.g.) my final audio mix to these
levels, regardless of definition and/or speaker set-up.
Your broadcaster will appreciate it, trust me.

Darren.

x-gf.com

[Darren Edwards]

I have a nice, grainy, authentic leader-counter from a 16mm
music video shoot, if you’d like it, courtesy of The Finishing
School in Leeds’ telecine dept. It’ll be in 4:3/PAL/25fps.
Email me: info@x-gf.com

Alternatively, the one you exampled is Premiere Pro’s
standard leader. It’s not great but preferable to Final Cut’s.

Darren.

x-gf.com

[Darren Edwards]

That’s good news about DVCProHD support.

D.

x-gf.com

[Darren Edwards]

So the stories about Vista and high-end Adobe stuff being
a real pain to work with is false?

PProCS3 does DVCProHD codec?

D.

x-gf.com