FORUMS: list search recent posts

Feature film recorded in 44.1k

COW Forums : Audio Professionals

<< PREVIOUS   •   VIEW ALL   •   PRINT   •   NEXT >>
Daniel Raim
Feature film recorded in 44.1k
on Oct 9, 2012 at 3:30:10 am

I am editing a feature film that was recorded in 44.1K and will be edited in FCP 7. I can easily set my timeline to 44.1k but read on forums that most folks will transcode to 48k prior to editing. Is that absolutely necessary? Or can I edit in 44.1K and let the sound mixer bounce to 48k from ProTools after the mix is done?

Boom mic was recorded using a Zoom, and if we batch transcode to 48k, we may encounter a major re-linking problem since all the clips have already been logged....and each audio clip doesn't seem to have a unique identifier like the video clips. There are probably about 20 ZOOM0001 files.

So should we just cut the film in 44.1k?

Thanks so much!


Return to posts index

Jean-Christophe Boulay
Re: Feature film recorded in 44.1k
on Oct 9, 2012 at 5:29:34 pm

Hi Daniel,

As long as your audio mixing house is aware of the situation before they start working, there should be no real issue with you continuing with the 44.1 material rather than converting it all. It really is a standards issue and has no real repercussion on anything quality-wise. In practice, there is really no perceivable difference between 44.1 and 48kHz material.

In fact, proceeding as you are will minimize artifacts, as you will mix all the audio in native format before transcoding, applying any artifacts only to the complete mix rather than adding up the artifacts of all the separately-transcoded elements. This is really theoretical, as the 44.1/48 conversion is usually a clean one.

So give the heads up to the audio mixer, as his templates and usual workflow are probably set up for 48kHz, but (s)he should be able to adapt to the situation without any problem. Be careful of any conversion you do from the NLE timeline for approvals or such. Most conversion presets are expecting 48k material and you may get sync issues if no sample rate conversion is set to be applied. You'll see it straight away so it's easy to catch. I've worked on many projects where we had to work like this for similar reasons and it's always worked fine.

IHTH,

JC Boulay
Technical Director
Audio Z
Montreal, Canada
http://www.audioz.com


Return to posts index

Daniel Raim
Re: Feature film recorded in 44.1k
on Oct 10, 2012 at 6:51:44 am

Hi Jean-Christophe,

Many thanks for your in-depth reply. Digging deeper into the audio folder, I noticed that all the lavs where recorded in 44.1k/16 and the boom at 48k/24.

I decided the best thing to do was use Apple Automater and resample all the 44.1K files to 48K. Although, now I have a mixture of 16 and 24-bit audio on the same FCP 7 timeline.

At this point, should I set my timeline to 48K/24-bit and inform the sound mixer that I will be delivering a multi-bit rate OMF output?

Thanks so much!
Daniel


Return to posts index


Jean-Christophe Boulay
Re: Feature film recorded in 44.1k
on Oct 10, 2012 at 1:34:56 pm

Ah, the pleasure of multi-format projects!

OMF interchange can be a bit of a crapshoot. Since OMF is not a true, solid standard, each developer integrates it the way they want on export and import and some combinations work and others don't. I haven't imported a multi-bit-depth OMF in the newer versions of ProTools, but the older ones (v5, v6, v7) used to not work with that. It just gave you an error and nothing imported. I did see it work with ProTools 7 using the AAF format. I hear OMF compatibility is better in PT versions 9 and 10 but haven't had to use it on those versions myself.

Since you can't always know which version of what software the mixer will have, I think a safe bet is to export a short test OMF file from a timeline containing all the formats the actual production will use. Output an AAF as well, while you're at it. Send that over to them and make sure they can import it properly.

The absolute safest bet would be to transcode all your material to one single format and edit with that, even though that may entail some relinking fun at this point. A little work now could save you a headache later. Backup the original files with the camera masters in case anything happens down the line.

Then find the recordist who didn't set things up in a unified format and inform him he owes you a few beers.

IHTH,

JC Boulay
Technical Director
Audio Z
Montreal, Canada
http://www.audioz.com


Return to posts index

Daniel Raim
Re: Feature film recorded in 44.1k
on Oct 20, 2012 at 4:09:20 pm

Re: The absolute safest bet would be to transcode all your material to one single format and edit with that.

Thanks, again Jean-Christophe, for your feedback and support. We did all our transcoding using Apple Automator and Apple Soundtrack Pro. The re-linking happened automatically and so far everything seems to work just fine.

Dan


Return to posts index

igor jovcevski
Re: Feature film recorded in 44.1k
on Oct 20, 2012 at 2:56:21 pm

why would you like to relink? the audio is anyway uncompressed :) . its RAW PCM Audio Wrapped in wav header. No changes there. If you'd like to resample it, I would be careful. SOX command line tools are great for this. Resampling is not simple job and algorithms differ a lot.I would do it in 44.1 if possible or resample on quality app.Don't use quicktime converters premiere even avid for resampling. do it outside.

Igor
Woowave.com
tools for digital artists


Return to posts index


Daniel Raim
Re: Feature film recorded in 44.1k
on Oct 20, 2012 at 4:11:06 pm

Hi Igor, thank you for the feedback. Agreed, we did all our resampling in Apple Soundtrack Pro and it seems to work just fine.

Dan


Return to posts index

<< PREVIOUS   •   VIEW ALL   •   PRINT   •   NEXT >>
© 2017 CreativeCOW.net All Rights Reserved
[TOP]