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4

I see this question getting asked on message boards a lot. It's a perfectly valid question and I'm not sure why it's so hard to find answers with actual numbers. There are lots of people coming up from student/low-no film markets into a more commercial markets (just like I did) who are very likely to greatly undercut established rates without knowing any ...


3

IMO the work that we do is far less about the tools and far more about the talent. To that end, the goal is to create a skillset that people value - regardless of the tools in use or the price thereof. If your clients value your skillset, they will pay for that. If they feel they can execute as well as you can, then they won't. In the end, the ...


3

If it is 48/24 they ask for then there's really no point in recording in 96KHz and then convert it. There is a great gain if the project is being mixed in 96 and then resampled down to 48KHz, the program will have more to work with to reach a more undistorted mix, but doing it the other way around can only lead to degrading of the soundfile, remaining at ...


2

It sounds to me that you're running into a pulldown issue, which WILL cause sync to gradually drift over time. Check your PT session setup and make sure there's no pulldown/up enabled (and subsequently, if there's a way to check this in FCP, it's, worth doing so as well). Framerates and pulldown/up are different animals - you can have two things using the ...


1

Yea, having done some field stuff, especially if it's meant to sync to picture later, better off just grabbing it in 48. That's for the location stuff of course. Later on, if you are laying in sound design or foley, you can record that at whatever you want, esepcially if you plan on slowing and pitching stuff. For the location sound, I would rather not risk ...


1

Conversion is mostly automatic and very easy and fast to do. So don't make it an issue unless you end up doing conversions from uneven sample rates (e.g. 96k -> 44.1k is not an even division), which causes some, but often minimally audible digital errors. Better record at 96kHz, if possible, because it gives a more flexible recording for later use.


1

your protools session and your FCP project must be at the same Sample rate (i.e. 44.1Khz or 48Khz)


1

You've been bitten by THIS:http://duc.avid.com/showthread.php?t=212057 It's a fairly well known issue in FCP... When the Sequence is set to an Integer Frame Rate (i.e. 24, or 25) and the capture settings are set to non-integer rates (23.976, 29.97) FCP "helpfully" tries to correct the audio by doing pull-up/pulldown. The full details can be found in the ...


1

I'm going to echo Stavrosound here in that a little more detail would be helpful. I will, however, throw out the fact that there is a known issue with FCP (FCP7 in particular, don't know about FCPX if that's what's being used) where it will sometimes misread and rewrite the header information in audio files. This causes them to playback at the incorrect ...


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