Rosie Walunas
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COW Coins
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Forum Replies Created
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Thank you Shane Ross.
When I get back to the footage, I’ll check the pull down box, and hopefully it’ll come through as 23.976.
But what do you mean about the sync being off? It’s not a camera that has to be synced with another, just extra BRoll. You don’t mean the audio will be off from the footage do you?
They have been editing ProRes low res to high res, so they’re not going to be happy with DVCPro in the timeline for rendering sake, stability, etc. Is there a way around this?
About to watch these tutorials! Thank you!
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Yeah sort by TC column. Maybe try setting an IN and OUT for all the clips at once, first?
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I agree with all. Pictures are too big or they have an unfavored extension. Delete just the Render files and then re-render what you need.
If that doesnt work… You could try dividing and conquering the seq until you find the trouble area then recut in the pesky clips or audio.
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The C300 is shoots XDCAM 50 natively and that’s what my seqs are. When sent to Encoder I am transcoding the codec to Pro Res 422 HQ. No h.264. It’s more than frames off – try seconds.
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Hi again. I’m not sure I’m conveying what’s happening very well.
I have C300 footage, lav on track 1, boom on track 2. Recorded at 29.97. All is okay, plays each track fine and in sync. Even when transcoded at 29.97.
I Import the clips into Premiere, interpreting them as 23.976, adjust speed for proper 23.976 playback, and everything plays just fine in the timeline, audio is in sync.
I send my timeline to Encoder to export, export settings okay and match my timeline.
Export is complete, open QT file to listen – and the boom track falls out of sync!
If I try to trick Premiere and compensate for this drift, unlink, adjust boom audio speed in timeline, export, it just changes the pitch of the boom track.
I understand the track layouts and they are as I want them.
How could it be possible that they recorded the boom as a different rate have it be attached and part of the raw camera contents and the lav track is just totally fine?
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Hm. It’s not possible to plug a wireless lav and boom – like a shot gun mic into the C300? I assume that’s what they did.
This is such a small team that it’s just two camera people who are also the producers and everything in between.
Why would everything play in sync in Premiere and even in FCP (at 29.97) if the audio rates burned on to the clip play in sync? It’s only on the export in Premiere that it falls apart.
I really appreciate this info though. They’re kind of getting fed up with me about this clip conversion.
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“Can you contact the DIT for original captured audio media?”
I wish. This was something they shot in May and left until now to load. They just dumped the card on to the field drive.
I don’t think its a corruption thing though. I mean it plays fine in the timeline, It’s got to be some stupid little thing in Premiere.
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It’s a C300 camera, I don’t know how the mics were plugged in or if they used a mixer. Prod is pretty bad about conveying this info – I mean they got the shooting frame rate wrong! So I just have the raw camera files and the lav track is track 1 and the boom is on track 2. And I have to keep these split, so that when the clips are converted and brought into FCP, and audio tracks remain separate.
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Wow lots of reading for you to do but I understand where you’re coming from.
This is fast turn around so you could just AMA link but that might have a lag on the system since its multi cam. I would AMA Link in a formatted project native to your clips, then consolidate and send those high res media transcodes to an external drive. Then edit. If you need to you can Mixdowns but you should have to. Also don’t convert the frame rates when you load!
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Why can’t you just load that footage in a 720p59.94 project, and move than Bin into your 24p project, promote with Motion tool and slow down?
It you mean 1080p59.94 – not sure how that’s even handle with Avif since it doesn’t have a supported Format…