Apple Cinema Tools 3 - Manual (Page 31)

Chapter 1 Before You Begin Your Project 31
Since the film is often either slightly sped up or slowed down during the telecine
transfer, the audio must also have its speed changed. If the audio is being synced
during the transfer, the speed change is handled there. If the audio is being synced to
the videotape after the transfer, the speed change must happen then.
Synchronizing During the Telecine Transfer
During the shoot, you typically start the audio recorder a little before the camera rolls,
and stop it a little after the camera stops. Since you end up recording more audio than
film, you cannot play the audio tape and the film through several takes and have them
stay in sync. If you want the telecine transfer to record synchronized audio on the
videotape, you must either use the scene-and-take transfer method, synchronizing each
take on its own, or create a synced audio reel before performing a camera-roll transfer.
A large benefit to synchronizing during the telecine transfer, aside from having
videotapes with synchronized audio ready to be captured, is that the telecine log
usually includes the audio timecode and reel number information. Importing the log
into Cinema Tools makes it possible to export an audio EDL so that an audio
postproduction facility can recapture the audio clips at a higher quality later, if needed.
NTSC Transfers
When transferring film to NTSC video, it is always necessary to run the film 0.1 percent
slower than 24 fps (23.976 fps, typically referred to as 23.98 fps) to compensate for
NTSC video’s actual frame rate of 29.97 fps (instead of an ideal 30 fps). Since the film
has been slowed down, audio too must be slowed to maintain sync.
PAL Transfers
PAL transfers using the 24@25 method (speeding up the film to 25 fps) require that the
audio also be sped up if you are syncing the audio during the telecine transfer or if you
intend to edit the video at this rate.
If you are transferring the film to video using the 24&1 method (recording an extra
video field every twelfth film frame) you should run the audio at its normal speed
regardless of where sync is established. Use 25 fps timecode for the audio in this case.
Synchronizing in Final Cut Pro
If you don’t synchronize your sound and picture onto tape via the telecine transfer,
they are captured into Final Cut Pro as separate audio and video clips. You can then
synchronize them in Final Cut Pro, using the clapper board shots, as mentioned in
“
Synchronization Basics ” on page 30. Once you synchronize two or more clips, you can
link them together as one clip, using Final Cut Pro’s merged clips feature. See
“
Synchronizing Separately Captured Audio and Video ” on page 123, and the
Final Cut Pro documentation, for more information.
UP01101.Book Page 31 Thursday, March 10, 2005 3:16 PM