Steven Gonzales
Forum Replies Created
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South Korea is a constitutional democracy.
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There’s something called isquint, which is billed as iPod video conversion, but apparently can do a lot more.
https://www.versiontracker.com/dyn/moreinfo/macosx/28250
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At http://www.nattress.com there is a helper plugin to help detect cadence. It’s called G Cadence Detect.
https://www.nattress.com/Free/freeFCP.htm
“Nattress plug in to detect cadence:
CT makes you do a lot of hard work. It’s not automagic. You have to tell it the correct starting frame for the pulldown sequence. You can find a free plugin on my site to help with this. You use it in FCP, with the 29.97 footage on a 29.97 timeline, view 100% square pixels turned off so you can see the interlacing. Park on a frame with pretty obvious interlacing, and hit the auto button and it tells you how much to move the offset. Move around a few frames so that you can see if the whole and split frame sequence in the display matches you video. If so, go back to the first frame and read off AA BB etc. and that’s what you enter into CT. “
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What machine do they have in the audio suite? I’ve seen older DVD drives that won’t read burned discs.
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What were the setting that the sound was recorded into protools, and what was the protools sync clock?
I believe in a previous thread, you said that the protools audio when placed in Final Cut was slow by .1%.
So between the live event occurring (sound to protools, video to DVCPRO at 23.97 (29.97)), either the video got faster or the sound got slower. Or the sound was originally referenced to a faster clock, and by the time it got in your sequence, it was referenced to a slower clock.
I think we need more information on the protools session: how was that session set up, and what was the clock source?
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I just dragged some polyphonic WAV files I had from an old project. When I edited that movie in FCP 4.5, I had to use external programs to deal with them. With FCP 5.1, they came in, all 4 audio channels showed up, and they appear to have their original timecode.
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I keep thinking there’s something with a clock somewhere.
Let’s say you recorded into protools at a rate of 24 frames per second. At 48000 samples per second, that would be 2000 samples played back each frame.
If instead you recorded into protools at rate of 23.976 (23.98), then 48000 samples in a second would work out to 2002 samples per video frame.
If you had to adjust your audio at 100.09 (about 100.1%), then your audio was running too slow, and you had to speed it up. Or another way of looking at it, you weren’t playing enough audio samples per each video frame to stay in sync.
Perhaps something happened to the video during the translation to DVCPRO HD, or something happened to the sound with clocking during recording in protools, or exporting from protools.
When sound is shot against film, sometimes the recordist uses 48,048 samples per second. Then the film is transferred to video (which slows it down by .1% during telecine). A way to slow down the sound is to play it back at 48,000, which slows it down by that same .1%.
However, if you were to take the transferred video, and play it back at 24 frames per seconds (its original speed — instead of 23.97), then playing sound recorded at 48,048, but slowed down by playing back at 48,000, would case the sound to run too slow.
In your case, if you took your 23.97 video, and conformed it to play those same frames at 24, then the separately recorded audio would be too slow, and would have to be sped up by the .1% (100.1% speed adjustment).
Perhaps something of this sort occurred to audio or video. I’m not terribly familiar with protools to tell if there’s setting there that could fix/cause the problem. Perhaps you could check on a protools discussion somewhere if anyone has seen this problem.
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Try this to find out the difference: Find a long take with a sync point at the beginning and end (say, the slate and a door slam). Put the video in your timeline, and mark an in point at the slate clap and an out point at the door slam.
Put the protools audio in the viewer. Mark in at the sound of the slate, mark out at the sound of the door slam. Now place the audio into your timeline with “Fit to Fill” into the marked area.
Now look at the audio in the timeline, and see what it’s speed adjusted to. That should give you an idea to start with. I’m guessing a 1/10th of 1 percent (.1%) difference in the audio.
My first thought was wondering what the clock was for the protools recording session.
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I also just discovered that there’s was a compatible digital recorder by Sony , the PCM-800 which can play DA-88 tapes, but has built in AES/EBU. So if you had one of those, you could play into the KONA2 from your tapes.
Apparently the PCM-800 was made by Tascam with Sony’s nameplate.
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Here’s a device that would covert your TDIF from the DA-88 to AES/EBU which the Kona 2 could take in. Perhaps you could rent it?
https://www.tascam.com/Products/IF-AE84.html