Use TC24. No need for TC25 anymore.
Trick I a using all the time with Cantar:
Ask production sound mixer to rotate, so that mixdown ends up on ch1/2 rather than the default 7/8.
Get him to supply you with monophonic files as well as with an ALE.
Import all audiotracks as separate monophonic tracks (do NOT use the options to auto-group monophonics).
Import the ALE into a bin.
Relink the ALE to the existing media.
Now you will have single multi-channel clips.
Sync them up, but limit the synced tracks to A1/A2 (it's in the AutoSync options).
Use Perf Slip to adjust sync subframe (TC gets you pretty close, but only on the frame).
Edit away with your VA1A2 clips. Whenever you need access to the ISO's, deselect the V-track in the Source monitor and hit Matchframe, this will bring up the original multitrack clip, and you can access and add the ISO tracks whenever you need them.
When you export to ProTools, you won't have to cut all original tracks in. Also: do not consolidate or embed. Just send an AAF linking to the media. Then supply sound post with all Avid audio mediafiles, as well as with a copy of all original BWAFs from the Cantar. In PT, they can now link your A1/A2 cuts back to the multichannel originals, including all ISO tracks (they have to assign the tracks as Field Recorder Guide tracks, then Expand tracks).
Have been doing this with Alexa and Red originated projects with double sound, working in 1080p24.000, for a few years now. Easy and solid workflow. Sound editorial likes it.
Job
On 21 nov. 2013, at 13:59, ph@cineaste.org wrote:
Hi Listers, In a couple of weeks I'm starting a gig that is about to be shot on Alexa @ true 24fps - not 23.976. Sound guy is asking me what TC I want from him. I first thought 24fps ndf, but then I remembered that in the days of filming on 35mm and editing at 24fps here in Pal land, Protools wasn't a big fan of that TC so we were using 25fps TC. Ok it was different since offline editing was done in SD and video was fed in via tapes. But it triggered something in my mind that it might still be complicated. Sound device is an Aaton Cantar and files will be delivered in their AAD folder since Avid 7.x knows how to deal with them. All tracks will be imported but only the mixdown will be used for synching up. I forwarded the question to the sound studio doing the track laying and mixing since the TC issue will be passed onto them. After all I think MC 7 is happy with all flavours of TC, isn't it? But no reply yet. Anyone here has been through this process? Any feedback appreciated. Thanks, Pierre
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