[Olivier Bertin]

Michael,

Thanks for your reply. We’re keeping everything at 96kHz until the last minute. I think I had read somewhere that 96kHz was also possible for a DCP (might be wrong, not familiar with it).

On the other hand, if I do what you suggest, I end up with a 24p frame rate, but my sound is clocked at a sampling rate of 96,096Hz (or 48,048Kz) and it won’t be accepted.

I’m really banging my head against the walls with that thing, because I can’t figure out why the synch is off regardless of the frame rate. 1 second is 1 second in time whether it’s divided in 23.98, 24 or 60 frames, and it should match 1 second of sound regardless of its sampling frequency…

I’ll keep digging.

Olivier

[Olivier Bertin]

Hi,

I have a similar problem:

I have footage captured on a 5D Mark II @ 23.98 that is matched with sound recorded separately at 96/24.

Now, we worked at 23.98 with ProRes (Proxy) for the edit in FCP7 and we now have our final cut at 23.98. I have conformed the project in ProRes 422 (HQ) and am now looking at exporting for sound.

The problem is we need to output two masters of the same project:
– one 23.98 HD version for video
– one 24p 2K project to create a DCP

So, I’d like to send the mixer one file that I can then import back in either a 23.98 or 24p timeline without any synch issues.

I’ve been doing tests on the first 10 minutes of the film and haven’t been able to get the synch to work properly with the audio still clocked at 96kHz.

The trip through Cinema Tools changes the sampling frequency to 96,096Hz (which we don’t want). I can import the conformed video back in a 24p timeline without any issue, but when I try to synch it to an .aiff export from the same segment, the sound eventually shifts.

Any suggestion?

Thanks!

Olivier