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Don’t do this with keyframes. Mark in-out around the clips you need to increase/decrease, set your Audio Mixer to Clip mode, set the level for the current clip, then choose ‘Set Clip Level In-Out’ from the Audio Mixer’s hamburger menu. You can still add keyframes or use automation gain on top of these clip levels.
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With the Audio Mixer in Auto mode, gang channel faders, move one fader.
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https://www.sounddevices.com/tech-notes/file-format-overview
Because most SD and HD video formats use a 48 kHz sampling rate for their native audio formats, sound files are generally recorded at 48 kHz. Nonetheless, there are numerous exceptions to the 48 kHz rule.In NTSC-land, one exception is the sampling rate of 48048 Hz (48.048 kHz), 0.1% greater than 48 kHz. It is used in select applications when film or video is shot at true 30 or 24 frames and is pulled down to 29.97 or 23.98 in post. When those 48.048 sound files are played back at 48 kHz, the 0.1% pull down will be achieved without additional sample rate conversion.
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[quote]If you see the framecounter go from 23 to 00, of course it can be 23.976 as well as 24, so this is relative meaningles.[/quote]
Exactly.[quote]the metadata inside the clip will tell you shooting rate[/quote]
Assuming the clip has that metadata. 35mm film would not be able to tell you if it was shot at 23.976 or 24.
Also, you are confirming my point: you’ll need to find out the speed the camera ran. -
[quote]The audio is in fact recorded as 48000Hz, but flagged as if it was recorded at 48048.[/quote]I beg to differ. In traditional 24fps shoot with 23.976/29.97 post situations, a film camera would run 24.0000fps and sound would be recorded to a 48048 clock, and played back to a 48000 clock. Avoiding sample rate conversion. Frame stays a frame (picture), sample stays a sample (sound).
Sure, you can restamp and use that to pull up or pull down, but that’s not what I was referring to.
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[quote]It should always sync, no matter the cam framerate and sound sample rate.[/quote] Not necessarily. There are workflows where people shoot at 24 but post in 23.976, by having the cam run 24.000 and recording sound at 48048Hz, then slowing both down to 23.976 and 48000.
Also, one needs to be absolutely sure the speed the camera was running when selecting a project type. That’s way more important than the TC rate. And my point is: the TC rate does not necessarily tell you what the framerate on set was.
Anyway. I don’t think we’re in disagreement. -
Hi Bouke,
If the cam was running at 23.976 and the sound as running at 48K, picture and sound should sync up in a 23.976 project. Timcode counts, but does not change speed.
When recording at 23.976, to the best of my knowldge, regular TC24 is commonly used. I don’t think there is an actual 24DF timcode type. Not saying it cannot be calculated or created. -
You just post in a 23.976p project. Sound does not have a framerate, its speed is determined by its Sample Rate. As long as the camera was running 23.976fps on set, and sound was running 48000Hz, just bring both into a 23.976p project.
Since there is no such thing as 23.976fps timecode, all timecodes (on the cam and the sound recorder) would usually have been TC24.
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It’s because the ProRes QT codec has a built-in flag that tells QT player that the source is Rec709 legal, and then expands luminance levels when you play it back on the computer screen. Try and play it back in VLC player, which will ignore that flag, and it should look as you expect it to.
Essentially, it means that RGB/709 toggle switch in MC’s export does not really work when dealing with ProRes. -
This makes perfect sense, the video is Rec709 legal, so blacks at 16, whites at 235, whereas your computer monitor (and graphics software) expects blacks to be between 0 and 255. Hence the option to maintain levels as they are (601/709, maintain, 16-235), or expand to full swing (‘RGB’, 0-255). https://www.jobterburg.nl/Publications/601_709_RGB.pdf