rec.arts.movies.production.sound

On Aug 28, 4:20 pm, "Phillip W. Palmer, CAS"
wrote:
> I'll do more investigating, but the AE gave me a little insight...not
> much. Our dailies tape from Telecine comes in at . They import
> the tape with a pull down to get it to a 24 frame session. This is
> where it imports the audio at 47952. They cannot change these
> settings on the AVID, as it mucks up a few other things
>
> Thanks Courtney. You're very helpful.
>
> PWP
>
>
>
> > This might be the normal setup if they are used to ingesting Telecine tapes
> > made from 24 FPS film that has been slowed .1% to and had it's audio
> > also slowed down during telecine. Then any audio brought directly in (not
> > through telecine) would be slowed to the 47952 rate and stay in sync with
> > the slowed audio from the telecine session.
>
> > However on HD projects that originate at (NOT ) they should have
> > a 48k timeline for audio so audio brought in can stay at it's native 48k
> > throughout. If Avid is unable to do this then they need to make a change.
> > It is becoming more and more popular to shoot on HD these days at
> > especially in TV series and films for television that are never released in
> > 24 fps Film. This issue has caused quite a bit of confusion and a huge
> > amount of complexity in the workflow due to each person involved in the post
> > process's opinion on the merits of each frame rate. (see above FR2 framerate
> > thread). Sure you can make it all work by jumping through a myriad of hoops
> > but there seems to be no simple answer that pleases everyone. And don't get
> > me started on the accuracy of .1% pull up vs. .1% pull down. (They are not
> > equal; but nobody ever mentions that)
> > ---Courtney
>
> > > I also think (perhaps) that the avid is set for 24 frames. Not
> > > sure...and I will check.
>
> > > I'm not sure why this seems to fall into the sound mixer's lap all the
> > > time. Perhaps another thread on this could be why we always have to
> > > figure this stuff out for everyone.
>
> > >> This dosent make much sense. I think that if their AVID Project is a
> > >> p
> > >> NTSC project it should have sound at 48k with no pull down from the
> > >> injested
> > >> tapes. Perhaps they did not use the proper project rate: If they use a
> > >> Film
> > >> type project that expects telecine from 24 Frame Film that has been
> > >> pulled
> > >> down to then I would see how the audio may not stay in sync.
> > >> However
> > >> with the NTSC type project everything should stay in sync at 48k
> > >> or
> > >> 48K
>
> > >> ---Courtney
> > >> Here is the text from the AVID website:
>
> > >> Planning a p NTSC Project >>>>>>>>>>snip



It seems to me that they are pulling the project down unnecessarily as
far as your project goes. There may be house-sync issues that are
resolved this way, but the project has definitely been pulled down if
they are working at . Just as a 30fps 48 k DAT had to pulled
down for its audio to sync in an Avid project after a film telecine of
the same audio, your audio is going to have to be pulled down for use
in this Avid in this scenario. This means a -.1% SRC for all the
files in question. I think you should explain to your production that
if editorial is going to work this way for whatever reason then this
extra step will be necessary for them to use your audio files.

Philip Perkins