[The Edit doctor]

They probably removed pulldown on output the first time making it a 24fps audio. Was the audio too fast for picture or too slow? They tricked you, Shane.

[The Edit doctor]

Sorry guys… my first post didn’t go through… and then I changed and added a couple of things and then they both went through UP THERE…

Sorry

[The Edit doctor]

Okay…

Directly INTO protools. Interesting.

So, recording 29.97fps and recording 48 audio. This is correct. Shane was actually incorrect there previously. 29.97 recording onto say a DAT tape IS the same as 23.98. They are both VIDEO RATE. It’s the timecode numbers that count different but the time and speed are the same. so lets just call it VIDEO RATE.

30fps is the same as true 24fps. We’ll call that FILM RATE. This plays faster by .01%.

in this scenerio your protools guy MAY be adding pulldown to the audio on the BOUNCE OUT. He shouldn’t be doing this.

Is the audio drift getting ahead of the picture (happening before the mouths move) or after the mouths move.

Try this

Choose a long shot. Take the audio and sync the clap with the shot.

Audio faster than picture: go to SPEED type 99.9% Try that.

Audio Slower than picture: got to SPEED type 100.1%

Now, if neither of these are working… there’s something more. Sample rates were recorded or output differently that you are told.

Tell me if audio is faster than picture or slower.

Also – can the P2 actually record true 24 or is it only 23.98. ANYONE?

Mike

[The Edit doctor]

Okay…

Directly INTO protools. Interesting.

So, Protools session at 29.97 recording 48 audio. This is correct. Shane was actually incorrect there previously. 29.97 recording onto say a DAT tape IS the same as 23.98. They are both VIDEO RATE. It’s the timecode numbers that count different but the time and speed are the same. so lets just call it VIDEO RATE.

30fps is the same as true 24fps. We’ll call that FILM RATE. This plays faster by .01%.

in this scenerio your protools guy MAY be adding pulldown to the audio on the BOUNCE OUT. He shouldn’t be doing this.

Is the audio drift getting ahead of the picture (happening before the mouths move) or after the mouths move.

Try this

Choose a long shot. Take the audio and sync the clap with the shot.

Audio faster than picture: go to SPEED type 99.9% Try that.

Audio Slower than picture: got to SPEED type 100.1%

Now, if neither of these are working… there’s something more. Sample rates were recorded or output differently that you are told.

Tell me if audio is faster than picture or slower.

Mike

[The Edit doctor]

Nathan,

Okay, if you’ve recorded separate audio during your shoot and then hand synced this audio via clapper in FINAL CUT PRO and it was actually in sync then the audio was most likely recorded AND stamped at the same rate. For instance, recorded at 48 and the data information stamped on it is 48. If it was recorded at 48.048 then the data is stamped at 48.048. Final cut resamples alternate data rates to your timeline rate on the fly. 48.048 becomes 48 but the SPEED remains the same. Did it have a green bar above it in the FCP timeline or simply nothing.

First please confirm the data rate of the recorded audio AND what the stamped version rate is. Hopefully you know this info. open a file in FCP and read it’s audio rate from the browser AUDIO RATE category.

Now, I’m lost here. Did you edit this material to the picture in sync and give an .omf to the protools guy? or did the protools take your original audio and create a mix and give you .aif files of final mix.

If he brought in the original files and they were stamped 48.048 but recorded 48 they play slower IN PROTOOLS- they could play the pulldown speed twice over. so too slow or they could be pulldown speed – it depends on what the ingest choice for audio was.

This does not work the same way in FCP. Final cut plays audio recorded 48 but stamped 48.048… faster. The speed to speed up 23.98 to 24 to be exact.

So, is this mix finished and was insync with a protools picture? I believe you gave him a quicktime movie but at what speed. 23.98? 24? 29.97 tape? I know you’re looking for a simple answer here but this has gone so far without enough technology decisiveness.

So, again, tell me about the quicktime of the picture (speed). Tell me if an omf from you was given to protools or he used a list and went to the original tapes – Don’t ever do this in a low budget world… use the omf fyi.

Now if you’re still at the protool mixing stage and the sound is messed up…tell me that as well.

Mike

[The Edit doctor]

Do you have the old Dolby AC3 program that “used” to come with DVD STUDIO PRO. It could open and output .aifs as long as they were not protected of course.

[The Edit doctor]

You’ve kind of answered your own question here I guess. You need a laptop.

I’ll tell you this. I just edited a National TV show (offline DV) on my MacBook…not Pro…MacBook. I have 2gigs of Ram I installed myself because it was just plain cheaper that way. I used a Medea G-Raid drive but I had to run firewire 400 (there’s no 800 on the macbook).

You can’t put Kona or Decklink Cards in these things- laptops I mean. You’ll be editing off the computer screen mostly too so it’s suited for offline in that fashion because to you need a NTSC monitor to view final output so for that you’ll use a DV deck or camcorder to view on an NTSC monitor and for finishing or judging final quaility…that’s pretty important. That’s where cards like Decklink for Mac Towers come in handy.

I still have a Tower at home..but I’m not there as much anymore and this MacBook is doing what “I” need to do. Create offline cuts on the road. You need the CrossGrade Universal Final Cut Pro too.

As for Motion – I don’t have it installed. I do understand it’s not ideal for my laptop situation… but I don’t use it this way. Think about that.

If you are to get a laptop for serious work…I think the group here will agree that the new MACBOOK PRO is the answer. The Macbook doesn’t have a designated graphics card so it eats up your ram.

I’m good with my situation but this may not meet your needs. Again, though… I think you’ve answered your own question regarding what you need. Just get RAM and drive space. Installing the Ilife suite eats up lots of harddrive space if you need that for idvd perhaps.

Mike (::[ ]::)

[The Edit doctor]

DO NOT reverse telecine footage shot at 30fps (29.97) to 24fps (23.98). Reverse Telecine is for 24fps material that has had the 3:2 pulldown added to it laying it on a 29.97 tape –

Truly… just get the Nattress Standards Converter from http://www.Nattress.com. Follow the directions you will be taking a 29.97fps clip and converting it to 23.98 clip using interpolation that smoothes out the fields and frames and keeps the runTIME the same. Do this to all those 29.97 clips first then use them in your 23.98 afterwards.

Mike (::[ ]::)

[The Edit doctor]

Use the Chroma Smoothing filter (video effects -keying) in the menu. Choose 4:1:1 if it is in fact DV video. You be best served to change your timeline settings from Dv to DV50. Everything will need to be rendered out most likely for you final product. The stair stepping is due to lack of chroma information – that’s just DV – DV50 can handle chroma at 4:2:2 so the combination of the out lined will work better if you can handle DV50 vs DV. The Chroma Smoothing on it’s own may be the trick you need. Try it out though and see.

Mike

[The Edit doctor]

You can add the clip to a new timeline, color correct it, then drag it back into the bin or NEW bin of color corrected master clips. Everytime you use it the CC filter will be on it.

Honestly though, just making a saved CC filter and using it for each clip (as stated above) seems the better way to do this generally, but perhaps this will help you.