Gary Adcock
Forum Replies Created
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[Abbi Jutkowitz] “but I’m still having sync playback issues.”
OK,
we start all over again since none of your problem is listed in this thread.
WHere does your audio and video come from ( camera, codec and capture method)
What computer and hardware configuration, software versions are you using?
is it a picture to audio sync? or display to display sync.WHY are you trying to playback 48 fps material- that is not a standard frame rate for video.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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“Interlaced means that the audio is broken into pieces and put with each frame of picture”
I believe that to be an inaccurate use of the term and technically incorrect.
Audio is not stored at the frame level in any video formats that I know of that exists in either the video world or the courtroom. (I do forensic and evidentiary work on a regular basis)
” Some softwares separate them into two files. Pictures only and sound only.”
Actually you have that backwards- it is reversed – some software actually marries the 2 file types together during capture.
Audio is a separate entity than video or film, does not technically carry time code, does not have or support “frames” and can exist separate from each other. But the history lesson was good for some.“the audio recorded time values (sample and bit depth)may not match the playback values so that it is reading audio at different rates then when first recorded or sampled.”
This can also happen as in this case that the audio compression internal to the recording is at a different sample rate than the editing software was expecting/ demanding. This is a very common mistake for many users when attempting new workflows.
“Check for drop frame option too.”
there is no such thing as drop frame audio- it does not exist.[Ken Glaza] “Call me for a free consultationI do forensic audio and video”
No thank you.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Andrew Karczewski] “Hopefully, Walter and Gary don’t kill me with their comments”
No just for posting the same content in multiple forums.
answered in the FCP
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Andrew Karczewski] “moving towards RED (all flavors…).”
if thats your plan it has to be the Kona 3
the other 2 cards do not support frame sizes beyond 1920×1080, of those 3 cards only the K3 card supports all available frame sizes that are supported by FCP.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[michael Ruiz] “Am I going to be able to view 23.98 when color correcting and when laying off to HDCAM at 23.98?”
Unless that HDCam deck gets a HDMI port- how does this affect you?
Not sure you read the article, JG did a good job explaining that this is about Monitoring
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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a better explanation of what you are trying to do would help.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Kasper Sørensen] “I have tried to import the DPX sequence to an empty timeline, and let final cut make the settings, and make the settings my self, without any luck.”
EH? Final Cut cant do that by itself.
You are going to have to create the seq settings from scratch if you are not using a tool such as Glue Tools Cineon/DPX Pro Plugin for FCP.
The best trick if not is to use the built in AJA settings and the 2 free aja utilities for handling 10bit UC files as log or lin . They allow you to take DPX files and place them in a QT wrapper for playback inside of FCP.
Note that the max size for frames in FCP is 2048 x 1556 (anamorphic).
‘
Where did the DPX files come from and what is the actual size of each frame?gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Ken Glaza] “See if the audio is interlaced or not. Just a guess.”
What is interlaced audio?
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Jeff Mack] “Anyway, I gave the client the drive and after all of that, they can’t use my .mov files. They asked me to convert my HDV to mpg 2. “
Premier on the PC can read about any file format. What format are you sending?
if you are talking about HDV content (not SxS or Xdcam) don;t convert to mp2 use DVCproHD instead- it will be a much faster output.if your content is ProRes -they can download the QT / ProRes player for windows.
did they even try to install QT for Windows to get it to work?gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640
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[Kasper Sørensen] “If i hide final cut and then open it again, the frame looks fine, but then after half a second it turns back as it is on the screen-shot “
There is a user setup error.
your files do not match your seq settings.I would recommend that you set up your machine to handle the DPX frames and not move between projects without re-booting FCP if you are changing between differing format configs.
gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows for the Digitally Inclined
Chicago, ILhttps://blogs.creativecow.net/24640