Jeff Mueller
Forum Replies Created
-
Working on that, but it does seem to be an FCP issue or something about how I brought the files in. I looked at it in PP CS6 and it syncs up fine at 100% speed from the original files which came in as 23.98. But being AVCHD they’re a bit jerky in the viewer, so I’m compressing them to Pro Res @ 29.97 and that takes away the lag. I guess I’ll cut this in PP. Have to redo some work, but cest la vie.
Best,
Jeff Mueller
http://www.ApertureVideos.com
Santa Barbara, CA -
Hi Dave:
I am viewing the footage in FCP and have put the clips into the timeline on top of my other camera’s footage and they will not sync up.
My sequence is Apple Pro Res 29.97, clips from my camera show as 29.97. Clips from the Sony camera show as 23.98, (They were converted o Pro Res on import) which puzzles me as I thought the shooter was giving me 59.96. It is clearly over-cranked but even when I set the clip speed to 200% it appears to me to be slow mo. The clip I’m working with is a bit tough to judge lip sync off of, so I’m going to try another one, but any guidance much appreciated.
To make things tougher I’m having a glitch with the FCP 7 interface where clips I paste into the timeline sometimes don’t appear or only partially appear (they’re there when I play it, they just don’t show up and markers don’t show either plus the graphic for audio levels in Viewer doesn’t always show). Annoying when trying to solve a sync issue. Has anyone else had this?
Jeff Mueller
http://www.ApertureVideos.com
Santa Barbara, CA -
Thanks for the info. We will be working in Premier CC, but currently with some old hardware – MacPro 1,1 – there is an internal debate about the efficacy of buying a new iMac, what’s difficult to know is how much of the editing we will end up having to do ourselves versus sending out which is the goal.
We spoke with the Technical Supervisor at the Post House we are most likely to use. They haven’t worked with Premier in the past but he is very familiar with it and didn’t see a problem. He also thought it would be okay to keep MOST things in their native codec. He emphasized that they always transcode when working in house in order to keep the cpu load down and avoid possible hiccups, but he understands why that is impractical for us and wasn’t really worried about it. He offered to do a test in their conform and color correction systems when we have a short piece edited, I think that’s a grand idea.
He did (wisely) instruct us to transcode all of our odd-ball material, that is to say material that doesn’t have it’s own time-code or isn’t in our standard frame rate (23.978). For us that means some limited iPhone and Handycam material as well as a fair amount of proxy stock footage material. He suggested either DNxHD or ProRes HQ as the intermediate codec. But the different variants of H264 from pro cameras he thinks we can leave native.
I’ll try to update how this goes as we proceed.
Jeff Mueller
http://www.ApertureVideos.com
Santa Barbara, CA -
Thanks Walter, I appreciate your chiming in. And I get the message that we must talk to the Post House. The facility is not entirely locked, but there is a front runner and I will try to talk to them tomorrow and give the forum some sense of what they say.
Jeff Mueller
http://www.ApertureVideos.com
Santa Barbara, CA -
Thanks William. I’m going to try and talk with a likely post house Monday.
If we do transcode before editing what would be a good Codec that would be easy on the data load given that we will be on-lining eventually?
Thanks.
Jeff Mueller
http://www.ApertureVideos.com
Santa Barbara, CA -
Thanks. Our earlier posts crossed, I have now made the aif file. 100% speed didn’t work nor changing speed in Timeline, but I’ll find a different way to do it and try that.
Jeff Mueller
http://www.ApertureVideos.com
Santa Barbara, CA -
Not so good update: so I exported the audio as a Quicktime movie through FCP (I think this is what Michael meant by making a stereo file). I imported the file back into the project and did an insert edit.
All of the In and out Timecodes are identical (on the original pre-color sequence, on the “from Color” sequence and on the new audio file), but it’s still out of sync. At about 25 seconds in it was 11 frames off, so I slid the video forward and the beginning looked good, but by 50 minutes in it’s still 2 seconds off). The sequences are all at 23.98 FPS, the audio file was at 100% speed. I then changed the speed of the audio to 100.1% (I did this in the timeline by locking out the video, selecting the audio pair and choosing change speed, is this the right way?). It’s still off by 2 seconds 50 minutes in.
Anyone have an idea?
Jeff Mueller
http://www.ApertureVideos.com
Santa Barbara, CA -
Thanks do much for the response.
Unfortunately my camera shoots 29.97 with pull down (Canon XLH1) which I think is the root of the problem. I imported directly from the camera (HDV) to ProRes 4:2:2 and my initial sequence was 23.98, my Color Frame Rate setting was 23.98 and the Sequence Setting for my new sequence back from Color is 23.98…I have double checked them all. The sync is fine in the original sequence, but I’ve read that this is a common problem with pull down material round tripping to Color. I have seen it once before, but managed somehow to replace the audio.
How do I make a stereo file out of my mix in Sequence 1?
Thanks.
Jeff Mueller
http://www.ApertureVideos.com
Santa Barbara, CA -
Thanks a million. I’ll try this and get back…not quite ready for Toast as I already feel I have too much software, but that may be next, is it whole wheat?
Jeff Mueller
http://www.ApertureVideos.com
Santa Barbara, CA -
You may want to take this to the FCP Basics Forum, but either way, what frame rate did you shoot at? What format, frame rate and codec was it telecined to? Sounds like DV Pal, but not clear. How did you import it? What are your sequence settings? And what is it that looks wrong about it?
Jeff Mueller
http://www.ApertureVideos.com
Santa Barbara, CA