Michael Phillips
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A frame is a frame, it is a playback issue by the playback system. As long as you are workng in frames back and forth, 23.976 and 24 should have no bearing.
Michael
Michael Phillips
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If you are in a 24fps PAL project, the playback is 24fps unless you set your timeline/edit settings to be 25 (see Film/24p settings).
What you are really setting up is a 24fps/48kHz relationship when working double system in a PAL 24p project. The additional setting is whether sound is sync with tape (25fps) when capturing, or you are coming in double system via file import, etc.
If you are shooting both 24fps and 25fps… well you have different frame rates. I suspect the 25fps is intended to be played back at 24fps and intercut with the other footage. A sample rate and pitch correction would need to be done on that footage to make it 48kHs at 24fps to match the rest of your content.
In US, we can record 48.048kHz from 24fps shoot to go to 23.976 post slowing it down .1% but we do nothing to pitch correct. In 25 to 24, the 4% difference is much greater with a .7 semitone pitch difference. Recording audio at [48kHz+4.1%] for a 4% slow down in Avid is most likely not going to happen. I can’t recall audio recorders doing that range of recording. Those dailies would need to be processed before coming into Avid to match the other sources.
Michael
Michael Phillips
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You could process the files through this: https://www.dvfilm.com/MXFX/index.htm
before editorial to return to your 720p/24pN that you are used to. It will maintain a higher quality image than trying to undo it later from a sequence with broken cadences at every edit.Michael
Michael Phillips
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You want to add 2:3 in order to make a 59.94 NTSC import. It should not change audio sync as long as you are sure the sources are 23.976 and your target is 29.97. If your sources are actually 24.000fps, then you need to slow down audio by .1% to maintain sync.
Michael
Michael Phillips
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Have you ever used a waveform/vectorscope? You can also get the specs from the brodcaster to ensure you are correctly sumbiting the master tape per their specs.
See this article from Walter Biscardi on the topic here on the COW.
Michael
Michael Phillips
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Although MetaSync was designed to try and accelerate the subtitle/close captioning process, it never did get finalized between all the products.
Metasync allows for you to define “interactive” objects to be timed in the timeline and then exported as XML files with reference to to the oringal object, URL, etc.
It is used in some processes such as defining chapters and thumbnail for Avid DVD, etc.
Michael
Michael Phillips
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In standard def, 16:9 is done by the display device. If you want to intercut 4:3 in a 16:9 timeline, then you need resize it by cropping. Go to the reformat effect and drop a preset or better yet, the reformat effect. Select source and target and you have a nice easy pan & scan tool to define the region of the image for output.
Michael
Michael Phillips
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23.976 in DVCPRO land is always 59.94 with 30fps timecode for deck control. That is the nature of the format.
Michael
Michael Phillips
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Then you should be good to go…
Michael
Michael Phillips
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Is the sound from the DVCAM going to be used for final mix? I would be be working in either NTSC 24p or NTSC 23.976 depending on that answer. In all cases, you should have gotten a log file (ALE) from the telecine to import and batch capture.
Michael
Michael Phillips