R. Hewitt
Forum Replies Created
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This sounds as though the audio sample rates are wrong.
Two track 16-bit audio is sampled at 48KHz. Four track 12-bit audio is samples at 32KHz. Playing back at the wrong sample rate will give you all sorts of audio problems.
Check first with the editor what sample rate he edited at and then make sure you start a new project in Premier with the same settings. You should find this solves the problem.
Richard.
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Defrag on the drive could cause issues. By moving media to another drive, erasing all files (format) on the original drive and move the files back over is more likley to give you consecutive files on the drive, which is a positive move. However, the Avid files seem to get corrupted very easily and this could introduce more problems.
I wouldn’t have thought hiding the other projects’ media will have any effect. The media is stored as discrete files in the OMFI folder. The project files simply contain links back to the original media, which it locates through an Avid database file. The database file often gets corrupt and deleting this and restarting your Avid app and opening the project again will re-build the database file. However it’s something that shouldn’t be done too lightly.
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A very worthy addition to your tools is the plugin Sound Keys from Trapcode. This allows you to pick virtually any instrument from your music and will automatically produce all the keyframe markers for you. It also works in Adobe AfterEffects
Further details here. There’s a free tryout too!
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That’s good news!
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Is this one specific audio track or does the same happen to all audio sources such as camera audio via firewire?
Is this on playback from the timeline?
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Wobble_cam. Oh dear. Say no more – I know exactly what you mean. There’s a lot to be said for large cameras and tripods.
PD170 + Journo = Mess!
Cheers,
Richard.
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Give Basic DV Device a try. If you check the Avid main website you’ll find a list of supported devices and any setting required to make it function correctly.
We occasionally get the same thing with a Sony DSR-45P. Restarting the application always brings capture back to life.
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Have you set the correct sample rate for your project? 48KHz?
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Can you not add the blob or pixelate on your Avid editing system within the DV environment? We do it all the time with Avid NewsCutter.
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Unfortunately PAL colour bars do not have a Pluge pattern and few stations will use the bars generated bythe camera precisely, as you point out, they may bear no resemblance to the colour temperature of the scene or camera setting. The point of colour bars on the camera is more of a leader on the tape and to identify there is a recording rather than just black.
A studio environment can more precisely setup the cameras and have much greater control over colour temperature (the camera operator dealing only with visuals and focus). The bars in this case are used to line-up the VTR. Knowing that the bars are from an accurate source, lining-up a subsequent VTR on those bars WILL reproduce, accurately, the source material as originally recorded.
The original point of colour bars was to ensure consistent setup within the broadcast chain. In the digital domain more advanced test patterns are used but colour bars are very simple to produce and as a result have been incorporated into many camera and VTRs.
As long as the users monitor has been correctly set – this is what pluge is for, then any material viewed will show all the flaws as recorded and will enable them to make an accurate assessment of the material and what corrections are needed.
What would be useful is to know the exact colour temperature as recorded – something that should be simple to add to the tape data regions.