[Zoe Westley]

Hi Michael, Job, Bouke

I have another question regarding this workflow, if you wouldn’t mind shedding some more light 🙂

I have done some tests with the Post Sound Team, and we now appear to be in sync. The EDL’s I generate for them with Record TC as TC1 seem to work.

What they are doing is converting to 48 kHz mono files. Then they conformed my EDL in their audio session using 30 fps source code and 24 fps destination code, and it worked!

The QT’s I give them to work with are at 23.976, however they believe that the audio on the QT’s is 48.048 and not 48, and they believe I should be supplying them with QTs that have 48 sound on them. However I can’t see a way of altering these settings at all. Is what they are asking correct?

Eventually the audio supplied by the sound house will need to be 24fps on the MO disc to sync with the picture negative and also for use on the DCP.

Many thanks for all your help so far

Zoe N x

[Zoe Westley]

I’ve similarly had this problem before, when export a 2hr17min sequence. I found Mixing down the audio tracks as John suggested worked. After closer examination though, I discovered that the issue appeared to be with audio clips that contained either Pitch or Time shift. When I removed the FX, match backed the audio and replaced the audio in the timeline, and then re-created the FX, it worked like a dream.

Thanks

Zoe N

[Zoe Westley]

Hi Michael, Job, Bouke

I have another question regarding this workflow, if you wouldn’t mind shedding some more light 🙂

I have done some tests with the Post Sound Team, and we now appear to be in sync. The EDL’s I generate for them with Record TC as TC1 seem to work.

What they are doing is converting to 48 kHz mono files. Then they conformed my EDL in their audio session using 30 fps source code and 24 fps destination code, and it worked!

The QT’s I give them to work with are at 23.976, however they believe that the audio on the QT’s is 48.048 and not 48, and they believe I should be supplying them with QTs that have 48 sound on them. However I can’t see a way of altering these settings at all. Is what they are asking correct?

Eventually the audio supplied by the sound house will need to be 24fps on the MO disc to sync with the picture negative and also for use on the DCP.

Many thanks for all your help so far

Zoe N x

[Zoe Westley]

Hi Job

I’ve used Wave Agent to change 25fps sound to 24fps on a previous project, when it was incorrectly recorded on set at that frame rate for a few days, and it worked like a dream.

Thanks

Natasha

[Zoe Westley]

Hi Michael

Thanks for this. I inherited the production at the end of the shoot, and ii believe that the sound was imported as per Method 1. The Sound TC has also been burnt in to the picture, which has been helpful.

In the past I have always had sound recorded at 24fps on set.

The Sound Designers have just been confirmed, so I’ll do some tests with them this week.

Thank you for all your help

Natasha

[Zoe Westley]

Hi Job

thanks for the quick reply. Yes picture was recorded at 24. Okay, so in theory all should be straight forward

Thanks

[Zoe Westley]

Great thank you, our post sound guys are working in Pro – tools so they can accept all three methods, but i’ll stick to WAV

thank you again

[Zoe Westley]

Great thank you that all makes perfect sense. 24 it is.

One last question, would you recommend importing the sound as PCM (MXF) or Wave or AIFF

We would deliver AIFF or OMFI files to the sound department later on down the line

Many thanks for all your help

Zoe

[Zoe Westley]

Hi Michael

thank you for your reply.

Yes it is a 1080/24p project, both sound and picture have been recorded at 24fps, so i should be importing the sound at 24fps as well right?

I have spoken to the Sound Mixers and they will be mixing to 24fps QuickTimes using OMF’s, our tech supports concern was that if we end up mixing to tape, then they believe that if the sound was imported into the avid at 24 then we could have problems at the mix stage.

Zoe

[Zoe Westley]

Hi Michael

Thanks for your reply, personally I would prefer to get .mxf files as I appreciate that valuable time could be saved, however the Producer really wants to go down the QT route as this method has proved faltless to his productions in the past. However i will mention that valuable cash could be saved with less harddrives being bought and see what is said.

Thank you again

Zoe