Steven Gonzales
Forum Replies Created
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Why worry about all those different digital broadcast formats?
I just bought a brand new HD-DVD player, so I’m ready for the future. Put it right next to my Betamax vcr.
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There were other systems for color when it was added in the early 1950s, but they would not have allowed black and white receivers to still decode the broadcasts.
When the color subcarrier was added, the frequency had to be shifted to avoid interference with the FM sound carrier.
Considering this technical requirement, it was really an amazing engineering feat to add color, and only shift the scan frequency by 1 part in 1000.
The legacy is that when timecode came around, there had to be an adjustment of 108 frames per hour to keep up with the clock, so dropping 2 frame numbers every minute, except the ten minutes, was the solution.
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For broadcast, it’s helpful when the time on the VTR decks matches the clock on the wall. This is where drop frame comes in handy.
I work a lot with film telecine to video, and for that purpose the one to one relation of frames makes non-drop less confusing, especially when lists have to reference back to film for cutting negative.
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You might already know this, but if the clip is DV, you can use DV start stop detect within Final Cut.
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How will you start, and how will you finish?
The original use of the term digital intermediate was to shoot on film, scan that negative instead of cutting the negative, and put that digital image out to finish on film.
If you’re shooting digital, then the “intermediate” is a redundant term, because you’re digital already. If you’re digital projecting, then you stay digital and there’s no intermediate at all.
The advice to ask your lab is the best. To that I add: take your finished product, and work backwards to figure how you’ll get there.
Most people that have problems start a project with no idea how they will end it. Then they end up with PAL to NTSC conversion, out of sync sound, or a myriad of other problems.
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The Sound Devices 702T recorder has a neat trick for this, a 48.048kF (F for faux, or fake, or Fostex) mode, where the file is recorded at 48,048, and timecode is forced to 30ND.
However, the file is stamped as 48kHz sample rate, with a 29.97ND timecode. Thus it will be forced to a .1% pulldown and will be accurate in Final Cut Pro syncing to a film telecine with pulldown.
I haven’t checked in a while, but I thought Cinema Tools would not conform audio only quicktimes.
Also quite a while ago, I tried to sync and make merge clips with audio at 99.9% speed. The merge clips would not work when the audio had speed change. This may have been fixed in Final Cut since then, but check to make sure.
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You should get all the info on the BWF files, especially their sample rate.
You also have the option of editing in a 24 fps timeline, instead of 23.976, which would speed the picture up again to match the unchanged audio.
If you need to change the BWF files sample rate stamp, here’s a Sample Rate “restamp” tool, which runs in the terminal. I haven’t used it.
https://24p.com/AvidInsider2.htm
The most important thing is to figure out how sound will finish, and work backwards. Talk to the sound editor, figure out what they want, and then work backwards to give them the right delivery.
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You might play with exporting an XML. I’ve used this and a text editor to global replace changes, then re-import the XML, and the changes were made.
It might help to set the first clip to the new parameters, then you can compare that to the later clips.
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You might check where your RS422 cable is running, as you may be getting interference.
RS422 is a differential scheme, so it’s usually pretty good against noise, but you may also have a ground loop or a lot of electro magnetic interference. Try plugging the deck and the computer into the same electrical source and see if that helps a ground loop.
You could add a ferrite component to the cable if it is electro magnetic interference. Here’s a PDF on it from Fair-Rite, a company that makes such devices.
https://www.fair-rite.com/newfair/pdf/CUP%20Paper.pdf
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I can’t tell if it’s up to date, but Kevin has a site at http://www.fcpworld.com .