Mark Spano
Forum Replies Created
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What they all said. Here’s a pic of the AJA Control Panel where you can see the Embedded Audio is selected for audio input:
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IIRC, it should be in the Home>Setup page. Right in the middle of the screen is your choices: Auto, Input, SD Ref, HD Ref. Pressing the middle button of the cursor key should give you the flashing selector, move it over to what you want (SD Ref) and then press the middle button again. I’m not 100% on this, but pretty sure.
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I think you have that stuff all correct. But there’s more to it, at least on the SR deck. Look for these kinds of menu items:
TC Convert = ON
Set Frame = 30F
9P TC Sense = FC/30Those are in my preset when I’m doing pulldown add from the deck and capturing as 1080/59.94i.
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I’ve had this problem with my SRW-5500 if I forget to change the TC sense adjustment from LINE/24 to FC/30 so that the pulldown added to timecode gets sent down the RS-422 line. This is most likely what’s causing FCP to balk – it’s getting 30-frame picture, but sensing 24-frame timecode over RS-422. I don’t know what the setting is on the JH-3 but it’s probably in the menus.
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What other decks do you have? I’ve had luck transferring first to a BVW-75 Betacam SP – the deck has a built-in TBC and will line up the frame edges so that upon playback I’ve got a solid signal to work with.
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Preference Manager is your friend…
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[Cristobal Hurtado] “Can I just export the OMF from the 29,97 timeline and then put the stereo mix that the audio post producer gives me in the 23,98 timeline, matching the begining and end beep’s? Is this possible?”
Yes, however a few things to take into account. You must give the audio mixer a 29.97 picture reference as well. The overall timing will be exactly the same (minutes and seconds are minutes and seconds). There is a huge caveat to this workflow, and that is that if there are any changes ever to the picture, the audio mixer will have a hard time conforming his already mixed session. If you’re prepared to say picture is locked forever, then you can get away with this workflow.
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You should leave FCP set at the HD resolution and frame rate and have the KONA control panel set to do the downconvert. Go back to your easy setup for 1080i DVCProHD in FCP. Then open the KONA control panel and under ‘format’ tab, set it like this:
you should then be able to edit to an SD tape as 480i letterbox.
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[Nandan Rao] “Is there a difference between changing the sampling rate of the audio in compressor and setting it in FCP to speed 100.1%?”
Good question. I don’t know if there is a difference, honestly. I have a sneaking feeling though that Compressor might do a better job of this, and another feeling that Pro Tools would do it even better. It may be such a minor difference though that it wouldn’t matter. I’ll have to test this out at some point.
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[Rik Flynn] “My final delivery format is 1080p video. Which sponsors an additional question; should I be piecing it together in a 24 fps or a 23.98fps sequence? again, my audio was recorded at 48khz.”
Absolutely edit in 23.976fps. The video rate is already there. You’ve done all of the hard part where video is concerned by creating a new edit for edit sequence in 23.976. Now you have to pull down the audio.
You shot at 24fps and recorded at 48kHz.
You’re now at 23.976fps (-0.1%). Audio should come down by the same percentage, so 47952 Hz. How do you go about doing that? Well, it can’t be that sampling rate in your project, obviously. So the next best thing is to stretch the 48kHz audio to make it long enough so that it is effectively 47952Hz worth of audio passing in a second. That’s where Compressor comes in. There is a way to transcode your audio so that it is stretched by the correct percentage. Call up the preset for 48kHz AIFF and go to Frame Controls. Set it like this:
Process your audio files and they should be in sync with the video. Now you just have to relink or re-edit the new audio.
This is a way I have done it before and may not be the best or easiest way – somebody else here may have a better idea. Good luck.