On Jan 17, 2018, at 4:39 PM, bigfish@pacbell.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
I shot true 24.0fps video knowing it would ultimately be 23.976 then what sample rate should I record at on the DAW?
So many issues wrapped up in that one sentence.
For instance, audio sample rate doesn't matter if you sync at 24fps and then "convert" that single system file to 23.97. Your audio will adjust in the conversion.
Also, why would you shoot 24fps video? That's a film rate, so unless you are shooting video for film release, 24fps seems like a bad choice to me. That's why 23.976 exists.
If you are mastering at 23.976, you shoot at 23.976. If you are mastering at 24fps then you shoot at 24fps. Don't convert from 24 to 23.976 prior to mastering.. If you DO have to convert your video rate, you do this AFTER synchronization, single system, so video and audio are adjusted in sync.
In theory, record rates don't matter for double system syncing. Both picture and sound are recorded relative to the same "real time" clock. If the synchronizing system can run the picture at it's precise frame rate relative to real time and the audio at the precise data rate relative to real time, they will run in sync. A=B=C where B is real time. This is what most people see in an NLE. Someone gives you video. Someone else gives you audio. No pre-planning They just sync. That's because the NLE is adjusting both to run against the same clock.
That's the simple answer. Complex workflows come as solutions to complex problems having to do with limitations of production paths, specialized needs, and/or a desire for perfect optimization. Most of use shoot and sync one master and then covert to other formats, but what if you want the best master for multiple paths.
Say you want to shoot 24fps and you are really fussy. You decide to record your audio at an slightly high, non-standard sample rate because you want to sync to 24fps film and 29.97 video without converting the audio. You sync your 24fps masters (for film) using the audio precisely as recorded running at a slightly high sample rate. You could just convert this to 29.976, but instead you make a silent 29.97 video master with pulldown. This slows the video down. The audio, which was recorded at the higher rate, is now combined with the video at it's standard rate, which slows it down exactly the same amount because you pre-calculated the higher sample rate. The end result is that you have two masters at two speeds without "converting" audio.
Cheers,
tod "reserves the right to be wrong" hopkins
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Posted by: tod <hoplist@hillmanncarr.com>
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