Hi Greg,
All the shoots I did using the Zoom and Tascam for audio, were
recorded and edited in straight 25fps (I'm in PAL country). So the
23.976/24 complexity wasn't an issue here. I am now shooting in 24fps
(because the Panasonic GH2's cinema mode works in 24fps only) but I'm
not using external audio recorders anymore, I now record audio in the
GH2 using the Beachtek XLR/pre-amp box. This makes the workflow a lot
easier! When I will do my test I will make sure I'll be shooting in
25fps though to avoid any human errors.
By the way for those (considering) using external audio recorders;
there is software that can do the syncing for you in the timeline.
For Apple this is called Plural Eyes. I never used it though.
Rieni
At 30-8-2011 06:06, Gregg Eshelman wrote:
>That's why time code was created for analog recordings. With digital
>video and audio, it *should* be much simpler to keep them
>synchronized because the frame rate is exact and the audio is so
>many samples per second.
>
>But the way things have developed, there are several ways for
>digital audio and video to get out of synch. Sometimes the whole
>thing is just offset a bit so correction is a simple matter of
>shifting the audio to video alignment then padding one or the other
>with silence or blank video or a still image.
>
>Another way they can get wrong is if the video frame rate is changed
>for some reason, say from 24 to 23.976, without a corresponding
>speed change in the audio, processed to keep the pitch the same.
>
>Digital audio connections between pieces of equipment do have timing
>data. Do some Googling on S/PDIF and TOSLINK (which is 'simply' an
>optical version of S/PDIF).
>
>It does strike me as odd that with an all digital workflow from end
>to end that it's ever possible to get out of synch audio and video.
>It has to be either an error in software or firmware, or software
>and/or firmware written with options that allow humans to make
>improper option choices that result in synchronization problems.
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