Michael Phillips
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1:1 is uncompressed video. The other numbers are compression factors compare to that – for example 1:1 is ~ 2 min/gig where a 2:1 would give you 2 mins/gig, etc. DV 25 is a different compression scheme that is about 5:1 with ~ 5 mins/gig. This is done by compressing the original uncompressed video. You should really not see artifact differences between 1:1 and 2:1 and even 3:1. I would look to other issues like proper color space, field ordering etc.
Michael
Michael Phillips
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Depending on which direction you need to go in, you can resetamp the sample rate in your WAV file and set the setting in audio import to change speed as well as sample rate when importing.
See: https://www.24p.com/AvidInsider2.htm
Michael
Michael Phillips
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Unlike other systems, the Avid maintains the fact that NTSC is by its very definition a 29.97 DF or NDF system in order to recapture any sources that may have gotten lost, deleted, etc. It also tracks in that very same project 25, 24, 25 with pulldown, 30 with no pulldown, and more importantly the cadence relationship for every clip to manage the 24 and 30. Although “assuming” that “A” frame falling on 0 and 5 is good… it is a recommendation and not a carved in stone rule that everything abides by. Bad down converts, dubs, etc, will all change that relationship. A one field slip on an “A” frame in a dub makes it a “C” frame. Wrong cadence in a 29.97 to 24 conversion will create a +/-1 frame offset. Add to that the additional matchback process that does a +/- 1 frame adjustment, you can now be 2 frames out.
Why does a graphic file import follow NTSC conventions? becuase we need to cover all workflows as much as possible. Graphic files can go out to SD tape as a proxy we can track that properly. NTSC is NTSC and as you say HD is HD. 1080p/24 and 23.976 are actual 24 frame counts and that is the reason those count as 24.
Could it be easier – perhaps and certainly in some areas. But you will find no other system that can tracks as much metadata on a per frame baiais as the Media Composer and generate a list on it.
Michael
Michael Phillips
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Applications: Avid Media Composer: Application
users: (your login): documents: Avid projectsAvid MediaFiles are on root drive as on PC.
Michael
Michael Phillips
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Try NORMAL pulldown, that is a common error when shooting. When I use the DVX100, I set all my settings to be ADVANCED or NORMAL so there is no issue when hitting the setting wheel by mistake. My settings will differe in color matrix, black level, and other things, but they will always be of the same frame rate and cadence type.
Michael
Michael Phillips
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You can make your own 23.976 matchback EDL from EDL Manager:
Michael
Michael Phillips
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If you make an EDL from a NTSC 23.976 project using the START timecode column it will be 30fps as NTSC is always 30fps. The 24fps timecode lives in a TC24 column and should be selected when making the EDL. Same for record side. Is this what you are making?
Also be sure that once you have the proper 24fps EDL in EDL Manager that you save it out as an EDL. Clear EDL Manager, and then import the EDL and do the import process from there.
Michael
Michael Phillips
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Very strange – are you captuting FireWire via Avid hardware (like a Mojo) or directly connected to the camera/deck with FireWire?
Also go to Film/24p settings and make sure you are set up for ADVANCED as well as make active the timecode to pulldown (00:00:00:00) relationship as “A”. If still stuttery – try B, C, and D.Michael
Michael Phillips
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How is the down convert being done?
Michael
Michael Phillips
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Sounds like if you only want to use one audio track, you will need to match waveforms ahead of time with a marker, then sync up from there. You can also set the multicam edit to use audio from each camera in the edit if you feel you can match that for a mix.
Michael
Michael Phillips