DIA Assembling workflow 'poll'

[Jfriah]

Ok, folks, now that I've figured out my required workflow to get this project actually going now, got me thinking:

I would like to ask how others do it.

(and please don't say "have the assistants/interns do it", hahaha)

Situation was a typical film shoot to film camera. Location recording was hard drive based at 30fps 48.000. Audio post is happening at 23.976fps against a 23.976 picture. Not 29.97ndf.

Editorial provided typical two-track audio reference cut in OMF, requiring DIA assembly. Editorial was working in Final Cut, "24", and provided "24"fps EDLs.



What would YOUR typical workflow be to pull original location audio (multitrack) into Pro Tools? Which software, etc.

Here's what ended up being the solution for me in this case:

After realizing the software was just doing what it was being told (TITAN, flash conform) after I loaded a take by hand and, yes, the original audio was nowhere near the line in question based on that source time code-- I had editorial provide me with a...30fps EDL.

Used TITAN source EDL 30fps no pull up/down to destination EDL 29.97 no pull up/down, then switched Pro Tools to 23.976fps and audio matches work track audio. Done.

Would love to hear your workflows.

Thanks.

Jeff

[iluvcapra]

Originally Posted by Jfriah

Ok, folks, now that I've figured out my required workflow to get this project actually going now, got me thinking:

I would like to ask how others do it.

(and please don't say "have the assistants/interns do it", hahaha)

Situation was a typical film shoot to film camera. Location recording was hard drive based at 30fps 48.000. Audio post is happening at 23.976fps against a 23.976 picture. Not 29.97ndf.

Editorial provided typical two-track audio reference cut in OMF, requiring DIA assembly. Editorial was working in Final Cut, "24", and provided "24"fps EDLs.

What would YOUR typical workflow be to pull original location audio (multitrack) into Pro Tools? Which software, etc.

Here's what ended up being the solution for me in this case:

After realizing the software was just doing what it was being told (TITAN, flash conform) after I loaded a take by hand and, yes, the original audio was nowhere near the line in question based on that source time code-- I had editorial provide me with a...30fps EDL.

Used TITAN source EDL 30fps no pull up/down to destination EDL 29.97 no pull up/down, then switched Pro Tools to 23.976fps and audio matches work track audio. Done.

Would love to hear your workflows.

Thanks.

Jeff

Sounds fine to me, there is no workflow anymore for this sort of thing, it's "whatever works" -- there's no set of steps you can follow in every case, you just have to understand the principles involved and improvise. It sounds like they were just giving you bad EDLs and things all came together when they gave you a good one.

[eoats]

+1

yea, the "whatever works" is part I aim for.

[Jfriah]

Yeah, it was the assistant editor's first film shoot project; so incorrect EDLs were given. But I'm also wondering why the decision was made to shoot film, edit in 23.98? (shrug)

I do more television than film, myself, so perhaps this is the norm now in telecine converts to 23.98 instead of 29.97. (another shrug).

Sadly, yes, "whatever works" often applies. Just a matter of time, but eventually (hopefully, hahahaha---had a dooooozy a couple years ago on a RED cam feature film) gets there.

Jeff

[iluvcapra]

Originally Posted by Jfriah

Yeah, it was the assistant editor's first film shoot project; so incorrect EDLs were given. But I'm also wondering why the decision was made to shoot film, edit in 23.98? (shrug)
Jeff

By the same token we can ask why the camera was running 24 yet the sound guy ran 30 frame code, aside from mere tradition. I don't think running 24 frame TC on the sound fowls up telecine anymore, though I welcome corrections on this.

[Jfriah]

This was the concern of the assistant editor-- but my answer was that, at the time of shooting, location recordist just knew 'film shoot', so went with 30.

I'll definitely be talking with him about it next time we speak (the location recordist). But, yes, I'd be interested to hear if anyone else is dealing with 24 / 23.98 time code location sound files for film shoots to camera.

Jeff

[Smallbudgetguru]

I sometimes do location work for small docs and tv spots to fill in the non paying gaps between post gigs. Ok so maybe much more low end than you guys but perhaps can clear this up. I dont run TC. I have 4 in 24 bit HD recorder that does not sync, so we either snake to camera or clapper board for sync. Once a cameraman asked "what TC are you running", but only once. Basically I read (and see in my work) that TC with audio files is barely even used for assembly at this budget scale. In fact I think I read in a "how to post audio book" could even have been Johns dialogue book, I dont remember, that nobody really uses the TC attached to audio files. Isnt the only purpose of portable recorders with TC to slave to a camera?

Can someone clear up how this all makes sense. I understood audio can not have timecode (set number of frames) since it runs in samples and if anything sub frame measurements, not a restricted amount of frames per sec.