[David Michael]

Thank you. This has been an excellent read for me – not definitively the answer yet, but I’m now testing some of those methods and will get back to you with some questions when they come up.

[David Michael]

Well, I can’t say it made it worse – but the slip is so severe it’s hard to tell (seconds not frames).

I’m not sure what kind of audio recorder was used – some fancy thing in one of those blue satchels with the transparent plastic flap would be my educated guess.

On the “audio slate” the recordist claims to be recording at 30 frames/sec (not 2997) 48K 24bit.

It also doesn’t matter whether I use one of the original h264 files that I do have or a prores that I’ve transcoded, the slip is the same, so it isn’t a problem with the conversion.

New thoughts?

[David Michael]

OK so let’s steer this conversation in a new direction now that I’ve been able to test out your conform method to see if that’s even the problem.

I conformed one long clip to 29.97, brought it into the project, fresh. I popped it into a sequence and proceeded to sync the audio. Still terrible sync at the end.

Any other thoughts for the culprit here?

Thanks.

[David Michael]

**EDIT**

I guess I’m missing something here – how is relinking from prores 30p to prores 2997 any different from relinking from prores 2997 to the original h264 (conformed) 2997?

[David Michael]

Is the issue here that the audio has already been synced with the 30p video? Meaning if I conform those 30p proxies to 2997 then they won’t reconnect either?

You are right about this being a mess.

[David Michael]

Thanks for responding Shane, I believe I read a thread were you recommended this some time ago – but it got lost in the noise of all the other recommendations and I’d like to know more. The project I’m working on was given to me as a bit of a mess, but I’m confident there is a way to get this footage to where I want it.

Here would be the workflow (the original h264 files are not currently available, but I will need to reconnect to them after picture lock). I’ve already got prores proxies in 30fps -> cinema tools 29.97 -> media manage an offline with the new sequence settings -> reconnect

Does this sound correct?

Thanks,
David

[David Michael]

This worked out perfectly. Thanks guys.

[David Michael]

Jason,

I appreciate the advice, it’s clever and it just might work.

If anyone knows a cleaner approach, that would be appreciated as well.

-David

[David Michael]

I came here to post this exact thing.

I’m syncing sound from a 24p 5D shoot and I’m probably just going to scrap the in camera audio – but I noticed that sound mark is a frame or 2 ahead of the visual marker. If I was syncing audio without a guide audio track, it would be a frame off of what the camera would have recorded.

I’m thinking I’ll just sync to the clap – like I would on any other project, but it is pretty annoying. And it makes me question my syncing practices. Should the audio clap come a frame ahead of the visual clap? Does FCP process audio frames differently than video frames?

See, my world is upside down. Post back if you discover anything.

-David

[David Michael]

John,

Going back and testing my OMFs in Soundtrack, the 10 second handles make complete sense. And he definitely must mean to add them during export so that he has room to fiddle. I knew something was fishy. What a close call, many many thanks. You’re a lifesaver.

-David