Matt Campbell
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Several years late to the party, but I’ve been having the same issue for years now and only lately figured this out. Bare with me, but here was our set up. Blackmagic Decklink Studio 2.
1. Program Monitor and audio output via BMD sent to Mackie mixer Ch. 1 & 2 were in sync.
2. FSI broadcast monitor via SDI from BMD card and FSI audio loop back via 1/8 inch jack to Mackie Ch. 3, were in sync.But when 1 & 2 viewed at the same time, side by side, you could tell they were out of sync. Which wwas distracting and a pain constantly saying “don’t look at the program monitor & Premiere and just watch the FSI” during an edit session. They’re always worried things were out of sync, when they were not. I would just mute my 1. BMD audio out from Premiere Pro on my mackie mixer, and use the 2. loop back audio from the FSI monitor, which was in sync.
So, being that the FSI was always a few frames rate and you can’t offset the BMD in Premiere with a negative number as a positive # would only delay more. So I finally tried ‘checking’ the Adobe DV box and offset by 150 ms (a guess) and BOOM. Both Premiere and the FSI are pretty damn close to sync’d. Now I don’t need to mute and unmute channels on the mixer. I can always use the BMD output for audio and all picture looks good. Its still not perfect, but close enough no one has said anything!
Maybe its just me, but I never would have thought to offset Premiere. All along I was thinking it was a BMD issue.
iMac 3.5 Ghz Intel Core i7
16 GB of RAM, NVIDIA GeForce GTX 780M 4096 MB
External RAID 5 in T-Bolt Chasis using eSata
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802 -
Dito.
iMac 3.5 Ghz Intel Core i7
16 GB of RAM, NVIDIA GeForce GTX 780M 4096 MB
External RAID 5 in T-Bolt Chasis using eSata
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802 -
Yup, NTSC full HD.
Glad Premiere up’d their game.
I vaguely remember FCP 7 having issues with this.Thx Dave. Can always count on you!
iMac 3.5 Ghz Intel Core i7
16 GB of RAM, NVIDIA GeForce GTX 780M 4096 MB
External RAID 5 in T-Bolt Chasis using eSata
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802 -
Appreciate the response Shane and always good hear from you. Been a few years.
Anywho, Canon’s site says, under Video Format XF-AVC (oops, not XAVC as I previously mentioned) is 10-bit YUV at various bit rates, or 12-bit in RGB444, Intraframe codec, all recording to C-Fast cards.Intraframe recording
Resolution : 4096×2160 / 3840×2160 / 2048×1080 / 1920×1080
Color Sampling: YCC422 10bit/(*)RG8444 (12bit/10bit)
(*) Only with 2048×1080 or 1920×1080; 29.97P, 23.98P, 25.00P and 24.00PSo based on this, is it still worth it to go to ProRes? I would think not. But wasn’t sure if the camera was recording this with some sort of compression. Like RED can, 3:1 or 10:1 compression schemes for various frame sizes.
iMac 3.5 Ghz Intel Core i7
16 GB of RAM, NVIDIA GeForce GTX 780M 4096 MB
External RAID 5 in T-Bolt Chasis using eSata
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802 -
I’ve recently upgraded to CC and, like you, have the same problem. If you offset the audio and/or video output device by how ever many MS, it makes the problem worse. It feels like the offset is backwards. My Program monitor is spot on with audio that is routed out of my Decklink Studio 2 card into a Mackie 802 and out to my KRK Rokits. And video out SDI out to a Flanders FSI.
However, when I mute Ch. 1 & 2 on mixer which is the direct feed from Decklink and engage Ch. 5-6, which is an audio loop out from my FSI Broadcast Monitor back into the Mackie, the sync is very close. But its still not perfect. So I changed the Audio Playback offset to about 100ms and its pretty good now.
The problem is always having to switch back and forth between the direct audio from Decklink, which sounds bright, crisp and awesome, to the mute those channels and engage the loop, which doesn’t sound nearly as good because the audio out is 1/8″ stereo jack splitter to 1/4″ plugs into the Mackie.
Not a deal breaker, just an annoyance.
iMac 3.5 Ghz Intel Core i7
16 GB of RAM, NVIDIA GeForce GTX 780M 4096 MB
External RAID 5 in T-Bolt Chasis using eSata
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802 -
I believe the 100mII, 300 and older 500 all share the same sensor and processor. One difference is the c100 internal compression is either MP4 or avchd. However add on external recording to the c100mII and they’re almost indentical, all recording ProRes 422 right off the sensor. C300 mxf format is a far better internal codec than MP4 or avchd, but again with something like an Atomos Ninja Blade, you bypass that compression.
I had a shoot with a vendor and used our c100mII and his c300, both recording to Atomos recorders and side by side, you can’t tell a difference.
I’m no expert but my two cents would be save money and go with a c100mII. Buy a Ninja or Shogun and boom. Great rig. Plus the c100 mII can do 60p at full 1080. C300 can not. Or wait for the c300mII and be done. All good choices.
iMac 3.5 Ghz Intel Core i7
16 GB of RAM, NVIDIA GeForce GTX 780M 4096 MB
External RAID 5 in T-Bolt Chasis using eSata
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802 -
Ah, I was always curious about that. Cause even 48 seems too slow for some of that stuff. That’s good to know. Hmmm, I’m wondering if frame rate options could be a firmware update? That would be sa-weet!
iMac 3.5 Ghz Intel Core i7
16 GB of RAM, NVIDIA GeForce GTX 780M 4096 MB
External RAID 5 in T-Bolt Chasis using eSata
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802 -
Thanks Todd. As soon as I find the time, I may just do that test. But my suspicions are the same as yours. And I’m thinking that capturing it in camera is great option, especially being able to play back slowMo to a client right away will be nice. Can adjust speed of actor and other camera movements to taste.
Thanks for your thoughts. I don’t think the c100 gives you the options of changing the frame rate speed. I believe its 24, 30 or 60. I haven’t found a way to shoot 48. thx again.
iMac 3.5 Ghz Intel Core i7
16 GB of RAM, NVIDIA GeForce GTX 780M 4096 MB
External RAID 5 in T-Bolt Chasis using eSata
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802 -
Sorry Ryan, my apologies for not explaining. I well aware of all aspects of post production and frame rates and completely understand software vs. over cranking slowMo. What I’m referring to is the c100mII ability to shoot 60p (conforming to 24p in post) or choosing the c100mII’s Special Recording option, shooting 24p in a 60p thus recording slowMo in camera. Both are TRUE over cranked slowMo, but my question is, is one method better than the other. Shooting 60p you need to conform in to 24p in post. Whereas recording it in-camera allows you to not only playback slowMO in camera but allows you to start cutting slowMo footage right away, with no conform.
I just wasn’t sure if there is any difference in quality choosing one method over the other.
Example, we just had a shoot using an Arri camera (not sure if Alexia or Amira), but we shot 48fps and recorded in camera directly to ProRes. So our resulting files for slowMo 24p ProRes 4×4 files.
I’m looking to do the same with 60p on our c100mII.
iMac 3.5 Ghz Intel Core i7
16 GB of RAM, NVIDIA GeForce GTX 780M 4096 MB
External RAID 5 in T-Bolt Chasis using eSata
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802 -
But doesn’t the c100mII have the special recording mode to record overcranked in camera, so that it plays back at 24p. Its recording 24p over a 60p. Would you be able to fool the Ninja and capture this way?
I’ve been struggling with something similar. Capturing sloMo in camera or shot 60p and conform footage in post. Not sure which is better or what the benefits are of either.
iMac 3.5 Ghz Intel Core i7
16 GB of RAM, NVIDIA GeForce GTX 780M 4096 MB
External RAID 5 in T-Bolt Chasis using eSata
BMD Decklink Studio 2, FSI BM210, KRK Rokit 5s, Mackie 802
