Nathan Shuppert
Forum Replies Created
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sometimes applying a 1/2 pixel or 1 pixel gaussian blur will help alleviate the problem. if you can apply a mask, then the blur, over the affected part(s) of the frame, so that the blur doesn’t interefere with the main action in your shot, even better. it may not get rid of the moire completely, but it might help decrease the intensity of it.
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you are a gentleman and a scholar Shane.
Big thanks!
Nathan Shuppert
Gibson Guitar Corp. -
I’ve had this same problem when trying to import Pro Tools session audio back into FCP. Search keywords “23.98 drift” from last month and check out some of the replies.
After many headaches, the only solution or workaround, as you figured out, is to attach the audio to a 23.98 quicktime. That’s what we’ve been doing out of Pro Tools and it works every time. Any AIFF, SD2, or WAV import will drift over time when importing to a 23.98 timeline. What we don’t know is if it’s a FCP issue or a Pro Tools issue. -
absolutely picture is 23.98.
i will try this tomorrow. thank you.
but to say don’t use PT is a little strange to me.
what would you use instead if you need to multitrack?thanks for your help.
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it drifts slower. adjusting the speed in FCP to 100.08 % gets it very very close.
If we can’t figure out the correct fix in Pro Tools, I may have to use this method at least to get a cut going, then figure out the drift issue on the back end.
It would be great to figure it out now though. -
it drifts slower. adjusting the speed in FCP to 100.08 % gets it very very close.
If we can’t figure out the correct fix in Pro Tools, I may have to use this method at least to get a cut going, then figure out the drift issue on the back end.
It would be great to figure it out now though. -
I’ve already done the speed adjust in FCP–and it works more or less.
This does not help me however as this project will go back to Pro Tools to match back to several pieces of what will become 5.1 audio.
We need to figure out what to to within Pro Tools so we can match back to it for final sweetening.What we don’t know if it’s a speed adjustment, a sample rate adjustment, a pullup or pulldown adjustment….???
So far nothing has worked.
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We are not sure what the clock setting was. Trying to find that out now.
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Unfortunately his settings were 29.97 DF when he recorded the session.
This has become quite a clusterf***. I need to get the session audio out of PT so I can cut the show.
The question now is what is the proper way to convert/export the PT session audio it so it will sync up with my picture in FCP.
Not sure if it’s even possible. Still researching–surely this has happened before to folks using P2 and with an external audio source.Any ideas would be helpful.
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Mike–here’s a re-post of the setup:
I shot footage on the Panasonic P2 camera 720p 24p Native setting in the camera. Boom mic and lav audio was recorded directly into a Pro Tools session. Camera Ftg imports fine back into FCP via P2 import. Throwing it into a 23.98 timeline using DVCPRO HD 720p60 codec, 48khz/16 bit. Audio and video both play great with no rendering needed. Here’s the problem. When I import the Pro Tools audio back in to FCP and sync up to the slate clap, the audio drifts. Starts out fine and in sync, but over several minutes it drifts. We’ve tried everything we know to make it right and so far, nothing is working.
and here’s more pertinent info…
i’m dealing with 2 separate audio sources: camera audio, which stays in sync with picture, and audio from a Pro Tools multitrack session which was recorded during the actual shoot (the shoot was at a recording studio) . there aren’t any OMF’s being dealt with here.
my audio guy is bouncing the original session audio(boom on ch1, lav on ch2) out of Pro Tools, giving me 16-bit, 48kHz aiff files.
When I import the Pro Tools session audio back into FCP and sync up to the camera audio using a slate clap, the audio drifts.
thank you for your time…
Nathan