Sound considerations, Choosing an audio recorder, Choosing an audio timecode – Apple Cinema Tools 3 User Manual

Page 28

Chapter 1

Before You Begin Your Project

In the above illustration, the burned-in (original) PAL timecode matches the conformed
timecode shown in Final Cut Pro for the first 24 frames, but then differs for all frames
after that, moving farther apart the longer the clip is.

As confusing as all this sounds, remember that in both cases Cinema Tools tracks the
new timecode of the 24 fps video and is able to match it back to its original NTSC or
PAL values, and thus back to the film’s key numbers.

Sound Considerations

Since the sound for a film is recorded separately on an audio recorder, there are a
number of issues that you must be aware of and plan for:

Â what type of audio recorder to use
Â what timecode to use
Â how to mix the final audio
Â how to synchronize the audio with the video

Choosing an Audio Recorder

When choosing an audio recorder, you have several options: an analog tape recorder
(typically a Nagra), a digital tape recorder (DAT—Digital Audio Tape), or a digital disc
recorder. Whether analog or digital, be sure the recorder has timecode capability.

Choosing an Audio Timecode

Unlike video or film, which must be structured with a specific frame rate, audio is linear
with no physical frame boundaries. Adding timecode to audio is simply a way to
identify points in time, making it easier to match the audio to video or film frames.

During the shoot, you have the choice of which audio timecode standard to use
(typically 30 fps, 29.97 fps, 25 fps, or 24 fps). You also have the choice, with 30 fps and
29.97 fps, of using drop frame or non-drop frame timecode. For NTSC transfers, it is
highly recommended that you use non-drop frame timecode for both the video and
audio (although Cinema Tools can work with either). See “

About NTSC Timecode

” on

page 26 for more information on drop frame and non-drop frame timecode.

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