[Doug Beal]

If you’ll notice the 720P 23.98 is actually playing back at 59.94 inserting a pulldown in order for it to be monitored in NTSC.
Was the audio recorded with any sync,clock or TC info? If so what sync,clock or TC rate was used?

If there was nothing locking up the audio recording you may try re-importing it into the project once the project is set up in the Format of choice.

If this project is going to a post house for finishing you might want to touch base with them. You can transcode using compressor but the results may not be pleasing. Natress also makes plugins that do this.
https://www.nattress.com/

If it’s going to be a high end finish you’ll want a Snell& Wilcox hardware conversion.

determine what your audio is, what frame rate what clock rate and push picture to that

You’ve got yourself a real chore here. It’s going to take time and money to fix.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

It might be worth a call to AJA (email).
Picture ready allows you to map multichannel audio and seems to use ch1 for TC
perhaps the AJA folks may have a workflow or setup recommendation for this application w LH
they are very savvy dudes

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

This is normal
you are trying to set the renders to go to the same drive they are already going to.
All you are trying to do is make final cut think like you do and It’s saying No this is how I do it.
If you wanted the renders to a “separate” drive, different from the drive your captures are going to, you could do that.
Notice FCP is not asking you to set “Scratch Folders” but “Scratch Disks”

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

I won’t ask why but you are trying to cut PAL and NTSC in the same timeline and this is just wrong. two completely different clock rates. you’ll have to convert something to get it to the same Standard. either PAL or NTSC. What Standard or reference was the audio recorded with.
somebody messed up here.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

You also have to assign tracks in the timeline and set the sequence up for 4 channels.
How these channels are mapped is dependent on what you need if it’s 4 mono or 1 stereo and two mono or 2 pairs of stereo. Once the sequence is set you can map where those channels go. they will follow the assigns via embedded and aes. if you need to monitor this you will either need a disembedder whose analog output feeds a mixer for monitoring, D>A to convert AES to analog and feed a mixer, or switch what you monitor with the control panel.
If you are trying to monitor a live capture without cutting in a timeline assign your channels correctly in the capture tool and look for a mixer with AES ins or D>A’s then you can select what you want to monitor by pushing faders.
Cheap D>A A>D behringer SRC 2496. set clock to AES input. it’ll lock to your AJA. Need two of them to convert 4 channels
You’ll still need an analog mixer to monitor the analog outputs of the converters.
you might find an old O1V with AES ins to achieve the same results.
one would think if your doing a high end production you could get something newer from yamaha roland mackie or others to handle this situation.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

I don’t think it’s a TC ref it’s a clock ref. Even though you are coming in analog you are creating a digital file and it needs to reference something for timing. Think of ref as the drummer. If nobody knows where 1 is, it won’t be music, it’ll be a mess.
If you want to record audio only, you might want to try soundtrack pro. there you can record and edit with much more sophistication than a frame based app like FCP. Export your mix from STP and import that into FCP

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

It should record audio only via AES into soundtrack pro. set Sound in system prefs to LHi
verify AES input in the AJA Control Panel, set device in soundtrack Pro to LHi and arm a track.
You should see meters move and monitor audio.
To record into FCP you might have to feed video as well. I use soundtrack if it’s an audio only session like VO etc.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

Depends on what you are capturing from and what you delivery to is.

Generally speaking if you are going anywhere near broadcast, bluRay, DVD or any tape delivery and want to be able to view on most Pro monitors Psf is the way to go.
Progressive segmented frames basically stores the progressive frames in two segments using the interlaced infrastructure in place in most video environments. The frames are rejoined on output to display progressive.
Be aware a trilevel sync generator (see AJA Gen10) is required to sync decks, capture cards etc.

1080P 23.98 is extremely rare, I’ve never seen it nor used it, while some may use 1080P 24 to edit for a film out these formats don’t play well with video

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

in the Tool bench in FCP in the audio mixer tab you can see the levels in FCP as shown by the audio meters. these meters are not necessarily accurate as they are dependent on your gfx card for redraw thus the ballistics are lousy however they can put you in the ballpark if you have no external metering.
you’ll want the meters bouncing around-6 if you go out to tape a little under 0 for DVD.
this is a rough approximation.
for material recorded way too quiet you might try audiofilters>FCP>comp/limit
and vary the amount of expansion by making the threshold lower makes it louder higher makes it quieter.

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN

[Doug Beal]

You can download the free cineform decoder and render to your available choice of codecs
https://estore.cineform.com/neoplayer.aspx

Doug Beal
Editor / Engineer
Rock Creative Images
Nashville TN