[Nick Meyers]

“But, I guess, to rehash the issue is whether or not the deinterlace box should be checked when ripping a DVD, which are more often than not 29.97”

if that is the issue, then i say NO.
you want to de-interlace in an environment where you can monitor, and hopefully control, the results.

nick

[Nick Meyers]

good idea about the pre-record.

if you do want to chase good sync from the on-scren performs,
i would suggest making up a small LOOP.
it has the LINE, then a gap, slightly longer than the line. the actor repeats the line here,
then the LINE again, than a gap, then the LINE again and a gap.

so as the look plays, the actor hears , then repeats the line 3 times or however many times you have the line in the loop.

i have done this, re-recording dialogue on naturalistic locations.
as your people are not repeating a line they had said themselves, i would make more then 3 passes in the loop.

nick

[Nick Meyers]

“To be extra specific, this was most noticeable on rips of cartoon shows 4:3 DVDs”

now that’s interesting, as Cartoons are generally NOT produced as interlaced.
many rarely go beyond “2”s, where each cell is shot for 2 frames.

so it should be quite possible to produce a RIP with no interlacing artefacts.

the errors could be that the DVD is 29.97, and the DVD has pulldown (Or would that be pull-up? – sorry, i am from PAL land)

nick

[Nick Meyers]

Hi, Ben.

i dont do the audio work myself, the sound teams look after that, so i cant help you there.
MIchael Gissing who is on this board is an Audio Professional, and would know,
i know he has answered the question in the past, so do a search of the boards.
however if what you are doing sounds good to you, then…

as for down-conversion, i would definitely do this during the play-out to tape from an HD file.
the scaling in the cards is good,
and your tape house may even be running it though hardware like Terranex.

cheers,
nick

[Nick Meyers]

HI, Steve.

i’l bet a lot of people here would like to know how you got that particular bit of magic happening for you.
you are correct: it is not normal behaviour,
and i don’t know how to re-create it.

re your original issue – master clips from pluralysed rushes

pluraleyes works in sequences, i think. you give it a sequence XML and you get back a sequence of synced clips.

well, these clips will not relate to anything in your browser. they are NEW entities with different audio.
i would suggest doing your syncing in a dedicated project, and copying the resulting sequence into your edit project.

then, copy all in that sequence, and paste into a new bin.
if you want markers on your browser clips AND rushes sequence clips, mark u your clips in the timeline,
and THEN copy / pate into a bin.
OR
copy paste into a new bin, mark up your clips in the viewer, and edit those marked clips back into your sequence, overwriting the originals

dragging the clips may not work. this can start a “Creating New Master Clips” process, which is very long winded, PLUS it may well lose your markers.

back to your current query
i have never seen the behaviour you have described.
sure, i can COLOUR a clip in the browser and see that reflected in the timeline, or vice-versa,
but markers? no.

if i happen to be adding a marker to a BROWSER clip, i may edit it back into my rushes timeline

nick

[Nick Meyers]

Hi, Ben
i cant comment on the maths

what i often do is to lay some un-conformed bars & tone against conformed bars & tone.
i adjust the pitch until there is no beating.

the only time i used a frame-conversion approach was when i worked on a piece for Silverchair, a local (Australian) band with an international audience
we couldn’t really mess with the music, so had to mess with the pictures.

i live in a PAL territory, and all the features i’ve cut have been put to Tape / DVD sped up to 25fps

nick

[Nick Meyers]

“How do you think the relationship could’ve been broken? ”

one known cause: copying bins AND sequences together between projects.
copy one, then the other, is the correct way,
OR if it’s just rushes coming from your syncing project, just bring a bin and create your rushes timeline in the edit project,
OR bring in a timeline of clips, and copy them in to a bin in the edit project

other than that, sometimes it just breaks 🙁

you could TRY copying your current edit sequence back into an OLDER version of the project, where the linkage may still work.
open some older projects and see if you can find one where it still works.

“we had numerous timecode issues with one of the cameras in terms of being aligned with the audio TC, which through running the demo it seems to cause huge problems.”

i would have thought that the relationship between camera and Audio TC is not not an issue,
all you need is to re-confirm the audio from the audio TC.

are you saying you tried a Demo of SyncnLink?
maybe you sent if video TC, and should give it Audio TC
i havent used this function of S+L, so cant say,
but the developers are pretty quick at responding to queries, in my experience.

“Think im just going to have to manually go through everything using TC from the 2 track clip as a reference for the multi track clip. Not fun.”

did you try Reveal Source?
maybe copy your timeline, delete all video
does Reveal Source on an audio clip (Option Apple R) bring up the 6 tk audio?

if so you can re-build the track a lot easier.

“Just want to make sure I don’t make the same mistake again. Do you have any ideas to make sure that I don’t? ”

i’m always using Reveal in FInder, so if it does happen to break for a weird unknown reason, i find it pretty quickly, and am able to go back and fix it.

nick

[Nick Meyers]

most likely somewhere along the line, the Master / Affiliate link between your timeline clips and your Browser clips has been broken.

it may be too late to fix this.

you should try copying your sequence into a new project, and use Tools Menu > Create Master Clips.
hopefully your new master clips will have all 6 tracks, but it’s not a given.

there are a couple of software solutions, that will re-conform your 6tk audio against your 2 tk edit.

one is an FCP-based solution, so something YOU would do.
it is Sync n Link, and a little expensive for a one-off problem, but it has other functions, so may be useful for you.

the other is ProTools based (And maybe other DAWs, i’m not sure) so it is something the sound team would deal with.
great, you can palm it off to them!
it is TITAN
https://www.synchroarts.com/products/home.php?ID=titan.

a few years ago neither of these things existed, and i had to re-conform my multi track audio in FCP.
even using QuicKeys automation it took about a day per 20 minute spool

one other manual approach might be to use Reveal Source (Option Apple F), rather than Reveal in Finder

nick

[Nick Meyers]

the REAL reason why PAL DVDs of Studio Movies look fine is NOT because of complex frame-rate conversion hardware,
it is because the films are run at 25fps,
so one frame is one frame.

in FCS world, that is very simple, you just take an export of your program, and “Conform” it using Cinema Tools.

the film runs faster (compare run times on amazon us & amazon uk)
and without pitch correction, the sound plays at a higher pitch.
this needs to be pretty good to work well, so if you don’t have access to good pitch correction it might be better left un-done

cheers,
nick

[Nick Meyers]

it could work.
but you won’t be able to use MULTICLIPS.
you’d have to use a more cumbersome method of having the clips stacked,
and cutting away what you don’t want.

then you could media mange the 25fps tracks,
run the reduced sections though compressor, and eye match them back in.

another method could be to use compressor to convert the footage, but use the FASTEST method.
or indeed you might be able to use FCP to do this.
the results will have a repeat frame every second.

with some music videos that would be a good thing!

nick