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Sonsey
12-18-2007, 11:26 AM
This is one that just came up and got me... I know Nathan had some issues with this, as did gsteiner (who's posts on CreativeCow and Apple helped me lick this one...).

If you are working on a project cut in FCP at TRUE 24fps (i.e Animation, or for finishing on Film via Cinema Tools) and you have exported you mix as a .WAV or .aif at that framerate... FCP puts a timecode value on audio it has imported. This value is the fps in the default capture settings -regardless of the fps of the Sequence. On most systems this will be either 29.97 or 23.976. However when you add this to a 24fps sequence FCP decides "Oh this audio has been pulled down, therefore I must pull it up to match with the 24fps timeline" - even if the audio is synced to a 24fps timeline originally. Yes, this includes BWAV files output from PT. The result is that the audio, which matches perfectly your QT movie in PT, and even in QTPro will play out of sync in FCP. Yes you read that right... FCP WILL pull up your audio without asking! So how do we work around this?

1. Have your editor make sure his default capture setting is the same framerate as his Sequence (good luck with this one...)

or

2. In QTPro, export your .aif as a .mov with the correct frame rate.

or

3. Use the Sebsky tools bwf2qt function to export an FCP movie with the correct framerate.

Gotta love that technology! Just thought I'd share this for those who may have had these weird sync issues in the past. You are NOT going crazy...

Sonsey
12-18-2007, 11:45 AM
As an addendum, this ONLY happens with 24fps material so it may not directly be related to framerate, but a "pulldown" tag (for lack of a better word). With 25fps material the audio remains in sync, even if the capture preset is 29.97. This MAY be related to the Cinema tools functions which allow you to resync telecine'd material back to true 24fps. The only reason I was able to track this down was because I had laid the audio back into FCP to make a change in the video (20s were cut and the bounce to QT function is always a bit buggy).

Starcrash
12-18-2007, 12:17 PM
Are you sure this occurs with AIFF files, too? I thought that the cause of this problem was embedded metadata in BWF files. Maybe this is a separate issue? This is why I've tended to use AIFF only when working on FCP shows.

Sonsey
12-18-2007, 12:35 PM
Hey Pascal,

Absolutely... that's the reason I always used .aif, and sure enough, this came up a bit me late last night (the last time you want to be dealing with this...). You can see it yourself. Create a 24fps timeline in FCP. Put bars and tone at a regular interval. Export your movie. Import the movie and audio into PT on a 24fps timeline. Now export the audio using .aif. Put it back in FCP and look for yourself... the audio will now be shorter. It does happen ONLY on 24fps timelines, and I'm using FCP6 so it might be new to that..

KK Proffitt
12-18-2007, 01:32 PM
Thanks for the info. FCP has a warning about sequences not matching capture settings, but I think you can turn it off. I guess I'm lucky that I always ASSume AIFF when dealing with Apple apps. I've seen some killer bugs with WAVs earlier.

I've done 24p with advanced pulldown and it's worked well so far. I don't have the very latest rev of FCP6 because I read that they broke P2 capture.

Sonsey
12-19-2007, 11:06 AM
Hey KK...

24p with advanced pulldown won't cause a problem, because it's actually running at 23.976. It's ONLY on true 24fps timelines. Of course the most standard reason for doing that is when you're working on a Film Finish using the Cinema Tools Reverse Telecine Process, so it's just Apple assuming that anything coming in will have to matched to the video, which I'm sure is helpful for folks who aren't familiar with the process but a royal PITA when workflow has already been established, or when working in traditional animation (my case).

KK Proffitt
12-20-2007, 04:41 PM
Hey KK...

24p with advanced pulldown won't cause a problem, because it's actually running at 23.976. It's ONLY on true 24fps timelines. Of course the most standard reason for doing that is when you're working on a Film Finish using the Cinema Tools Reverse Telecine Process, so it's just Apple assuming that anything coming in will have to matched to the video, which I'm sure is helpful for folks who aren't familiar with the process but a royal PITA when workflow has already been established, or when working in traditional animation (my case).



Ick, ick, ick. Yet another thing to remember. Good to know.

Starcrash
12-20-2007, 05:09 PM
Thanks, you guys. This is good stuff to know. It often seems like there's often a bit of voodoo when it comes to FCP-->PT-->FCP shows.

Since we're on the subject, does anyone care to briefly lay out how to avoid the most common bugaboos for this type of workflow? It's been trial and error for me and I'll admit I don't have a totally clear handle on it. Can anyone pinpoint what types of files, framerates, sample rates, etc tend to cause difficulty in FCP? This will be a bookmarker for me.

Sorry if this is a highjack, but I think it could be handy. Any FCP gurus want to chime in?

Sonsey
12-21-2007, 10:32 AM
Okay, so this is becoming a MUCH more complicated bug that I first thought. It appears that FCP stamps the incoming audio as NTSC(.01% pulldown) or PAL(no pulldown), depending on what capture preset is being used as the default. SO...if for example in Peter Groom's case, the editor NORMALLY works with PAL and his DEFAULT capture setting is PAL, and then cuts an NTSC 29.97 sequence (even if he changed his capture setting on import), when the editor RE-IMPORTS the audio from PT, FCP stamps it as PAL... then when you add that to the 29.97fps sequence, it assumes it has to pull it down to match...and your audio comes out long. Conversely if the EDITOR starts NTSC as a default and then cuts a PAL sequence, the audio is marked on import as NTSC, FCP assumes it has to be pulled up to match and it comes out short. Just to make things interesting, it appears FCP actually WRITES this information to the audiofile, which means once it's been imported incorrectly once, it will ALWAYS bear that stamp, even if the FCP defaults are changed. Of course TRUE 24fps isn't a valid NTSC rate, so the same pullup will be applied in that sequence as well, which is the problem that got me started investigating all this...

So, to recap IF you are dealing with a framerate that is NOT normal for your country/continent, the BEST option is to either export a QT movie (via, PT, QTPro or the Sebsky Tools) that has the correct frame rate for import into FCP.

WHEW! A'int technology grand... kinda makes me miss the days of aligning DBX noise reduction units... no wait, it doesn't

subwoof
04-14-2008, 06:20 PM
kinda makes me miss the days of aligning DBX noise reduction units... no wait, it doesn't



...Hang on....you mean there really WAS a way align DBX noise reduction units? I never found a way to do that, only SR...Maybe I should relive the 80's again and do it right...



Mike

ilinx
05-16-2008, 10:17 AM
Just to make things interesting, it appears FCP actually WRITES this information to the audiofile, which means once it's been imported incorrectly once, it will ALWAYS bear that stamp, even if the FCP defaults are changed.



Oh my god, I find that so disturbing. Isn't the whole point that FCP doesn't "touch" your media in any way without warning you??? Like, for example, when you change timecode of the file or reel name.

Is this new to FCP 6?

Starcrash
08-22-2008, 07:47 PM
This thread should really be a sticky considering that this FCP bug/ feature potentially affects a large number of Pro Tools users. A lot of us here on the DUC have been scratching our heads about this one for a long time.

KK Proffitt
08-23-2008, 01:00 PM
This thread should really be a sticky considering that this FCP bug/ feature potentially affects a large number of Pro Tools users. A lot of us here on the DUC have been scratching our heads about this one for a long time.

I heartily agree!

berk
08-24-2008, 08:39 AM
please make it sticky

CD Productions
08-24-2008, 03:36 PM
Perhaps the stickie should be "work flow issues". FCP is going to change, and so is Avid. This might be a good place for issues related to getting sound and pic together on various platforms.

marspe
08-27-2008, 03:57 AM
The bug gets even worse... Once Final Cut has "stamped" an audio file this way, it is "stamped" that way FOREVER!!! You can rename the file til the cows come home and it won't change a thing. That means that no matter what you do to your Capture or Sequence settings, Final Cut has already stamped the file as "needing to be pulled up/down" and will do so forever. I have actually started making a 'copy' of audio files in a different location before I import them into Final Cut so that if this happens, I don't have to recapture the audio.

God, give me an Avid please! :)

Sonsey
08-27-2008, 06:47 AM
Hi Marspe...

Yup... this info is added to the file Metadata (I've confirmed this with Apple techs...). You don't need to RENAME the file, you need to DELETE it, recopy it and THEN re-import with the correct settings...

At least as of 6.04 you CAN tell if this is happening by noticing if you get a green or red line on your Audio track, which indicates a sample rate conversion....of course that assumes the editor is actually LOOKING...

moniker
09-12-2008, 10:03 AM
All this has been about straight 24. 23.98 is whats usually in style & for that, I'm not sure I've seen this happen. I have, however, seen mixes poofed out at true 24 when 23.98 was what was asked for..

The Cargo Cult
09-17-2008, 04:52 AM
so I'm not convinced that anything is written into the file.

I have a DVCPro - 25pn project which had audio loaded while settings were NTSC (dammit). - audio thinks it is NTSC speed and plays back fast against the pix.

I grabbed one of the apparently modified files, duplicated it in the finder (with a new name) and imported it with FCP on the correct settings.
it imported fine and plays in sync.

so this tells me the declaration that the file is NTSC is written to a database somewhere. does anyone know where this might be?

berk
09-17-2008, 08:24 AM
i don't think that metadata is being changed after importing.

yesterday, I captured a PAL material and forgot to change the capture setting back to NTSC. Then I imported a NTSC Bwav file. noticed the the green line. the sync was all over the place.
After changing the capture setting, re-importing the file solved it.

berk

PS: FCP 6.04

AudioMaster
09-18-2008, 10:10 AM
Potential fix other than you suggested: The final cut editor can import audio files two different ways:. 1) using import from the menu or 2) dragging the file into their FCP session. Tell the editor if he's having problems to try to use File -> IMPORT audio vs. "dragging from a browser window." I've seen this work once before troubleshooting with an editor with PAL or HD audio issues.

Sonsey
09-22-2008, 11:24 AM
i don't think that metadata is being changed after importing.

yesterday, I captured a PAL material and forgot to change the capture setting back to NTSC. Then I imported a NTSC Bwav file. noticed the the green line. the sync was all over the place.
After changing the capture setting, re-importing the file solved it.

berk

PS: FCP 6.04

According to Apple this behaviour WAS changed with 6.04... so that's SOME good news... having them FIX IT would be better... along with the annoying OMF 24/23.98 bug...

cjguitar
09-22-2008, 02:09 PM
along with the annoying OMF 24/23.98 bug...

What OMF 24/23.98 bug are you referring to?

Sonsey
09-23-2008, 07:25 AM
The fact then when you export and OMF at 23.98 from FCP, it wrongly is read as a 24fps OMF, even though it's NOT... Simply changing the framerate of the session corrects the problem, but it's still a PITA...

tonepad
11-10-2008, 10:04 PM
What OMF 24/23.98 bug are you referring to?

Yo CJ...WD here. This is the bug I thought we discussed once at TDS where the FCP 23.976 OMF will report itself as 24 frames when you launch Digitranslator, even thought the pix dept is cutting and exporting in 23.976. My workaround is to make sure the pix eds start their OMF exactly as my session template...say 58:30 and give me a 2 pop and tail pop as a confirmation. Since adopting this workflow I have had no probs on our "Everybody Hates Chris" OMF's. Importing it into my 23.976 templates in this manner makes them dead sync. If the session starts are not the same as was the case for a season then the 2 pop saves the day. Just move everything to that 2 pop start point and voila, sync. I did discuss this at AES with Gordon L. and sent him a screen grab of DigiTrans reporting the 24 frames...haven't heard back. I also brought it to Apple's attention when they visited EHC post at Paramount, but I think Digi and Apple should be finding out a real solution to fix the false reporting.

guitarmongoose
11-19-2008, 03:18 PM
Yo CJ...WD here. This is the bug I thought we discussed once at TDS where the FCP 23.976 OMF will report itself as 24 frames when you launch Digitranslator, even thought the pix dept is cutting and exporting in 23.976. My workaround is to make sure the pix eds start their OMF exactly as my session template...say 58:30 and give me a 2 pop and tail pop as a confirmation. Since adopting this workflow I have had no probs on our "Everybody Hates Chris" OMF's. Importing it into my 23.976 templates in this manner makes them dead sync. If the session starts are not the same as was the case for a season then the 2 pop saves the day. Just move everything to that 2 pop start point and voila, sync. I did discuss this at AES with Gordon L. and sent him a screen grab of DigiTrans reporting the 24 frames...haven't heard back. I also brought it to Apple's attention when they visited EHC post at Paramount, but I think Digi and Apple should be finding out a real solution to fix the false reporting.

Wilson, I think you win the award for most acronyms in a single post. :D

tonepad
11-19-2008, 07:18 PM
Wilson, I think you win the award for most acronyms in a single post. :D

HA!!! You know me, it's much easier to use letters instead of actual words... it's all about the workflow and saving time and keystrokes, and hey this was one of my shorter posts!. Now back to trying to scrounge up a good deal on Strike... <g>

WD

see no acronyms!

postprosound
12-19-2008, 09:23 AM
Has anyone tried using Dumpster (http://developer.apple.com/quicktime/quicktimeintro/tools/) (second from the top) for this type of a situation? The program changes the way that quicktime looks at and plays plays a file. We have used it on a few occasions when we needed to deal with frame-rate issues. Anybody else tried this?

berk
12-19-2008, 10:56 AM
Hi

i have discovered something while conforming a project by Titan (at least i thought i was on something)

i had this 23.976 DVCPro HD project that was cut in FCP and then i received the EDLs. followed the usual worklflow with Titan.

i realized the project Titan created was a true 24fps PT project eventhough 23.976fps is choosen in Titan. the red light on video track in PT was on after importing 23.976 video.
session information confirmed that.

apparently FCP stamps the 23.976fps projects as 24fps on EDL exports.

just wanted to let you know
u might know already

john1192
12-21-2008, 07:41 AM
seen this same thing happen in non-24 frame rates ..

happens with 29.97 NDF and DF ...

does not happen in FCP ver 5 .. only 6 so far ...

cheers

john

Starcrash
09-12-2009, 10:50 PM
Since we're talking FCP-->PT bugs, I just read this one:

http://duc.digidesign.com/showthread.php?t=254265

Might not be a bad idea to use this thread as a catch-all for FCP/PT problems since it's a "sticky".

Vedat
09-14-2009, 08:52 PM
I stopped giving .wav files to FCP editors. Giving only AIFFs.

eyrelight
09-16-2009, 05:47 PM
Same bug as before. I have a 24fps sequence that was exported to OMF then into Pro Tools and then mixed. The exported Pro Tools AIF shows up in FCP perfectly aligned with the project audio, but with a green line and out of sync.

I've read this thread a few times and I'm not sure I'm understanding exactly what the fix is. Does anyone have a step by step so I can save the day? Thanks

Sonsey
09-17-2009, 11:10 AM
Simple fix...

1. Export as .WAV (yes .WAV)

2. Open Sebsky Tools (click to download here (http://www.peterhaasfilms.com/SebskyTools.zip))

3. Choose bwf2QT under tools. Check your settings, esp. that Timecode standard is set to 24fps.

4. Convert.

5. Give to FCP Editor.

Problem solved.

Noiz2
09-24-2009, 08:32 PM
OK first time I have come across this little bit of "Thinking Different".

The Sebsky Tools WooHoo!!! After spending MANY hours on this.
I knew about this thread but I didn't think it would apply to this problem because this is NOT a 24 frame project.

These are a bunch of short films and they were shot on a Cannon 5D II, so 30fps. They shot double system (for obvious reasons) and couldn't get the location sound to sync with the camera sound. Everything was peachy in PT but the minute it got back to FCP, out. These were such short takes it was hard to get a real feel for how far out they were going. Anyway it was this ugly bug. The "30" apparently is a real 30 and so FCP treats it like 24 frame video. Setting Sebsky Tools to 24 fixed the sync.

THANK YOU !

FYI part of the dead ends were related to some very weird work flow. The 5D II shoots in h.264, which is very hard to edit in so they converted to ProRes. BUT the camera also only records at 44.1 and there is no way to set up a seq in FCP to use ProRes AND 44.1. The non camera audio was also 44.1 so they could keep it all the same (actually I think it was a wrong setting but it sounds better as intentional). Anyway so I thought that maybe FCP was clocking the camera audio properly (since it's married to the video and would need to stream out at the same rate and was stretching the second audio. And of course FCP would be SR converting everything on the fly so it got complicated as to what exactly would happen. Anyway if this saves someone else from 10+ hours of trouble shooting...

Why is that the sound people have to trouble shoot problems with the picture dept software?

smurfyou
09-27-2009, 09:38 AM
Why is that the sound people have to trouble shoot problems with the picture dept software?


Because we'd end up getting the blame anyway. Us sound folk are difficult, don't you know.

I actually understand why this bug went unnoticed until some audio guys started poking around. What I don't understand is why Apple can't fix it after how many versions and YEARS?

Noiz2
09-29-2009, 10:52 AM
Yes, I knew why. It was sort of rhetorical. I just find it strange when I know more about a picture editors set up than they do.

Anyway we spent more time with this and confirmed it on a couple of systems. FCP treats 30 frame (real actual 30 frame) which is the only option on a Cannon 5D Mark II, exactly like it treats true 24 frame video.

The other thing that is a probable (since it was only limitedly tested) is that bouncing out of PT with pull ups doesn't fix the problem. The only thing I can guess about that is that FCP is SR converting on the fly to the session settings and then pulling it up???? Doesn't make any sense but then neither does this bug. The workaround that we came up with was to have them convert the files in compressor to 29.97 (and 48) ProRes files. They were converting to ProRes anyway so it was just making a custom setup. After that all the production audio syncs and you don't have to do a dance to get PT out put to sync.

Sonsey
09-30-2009, 08:49 AM
Hi Scott,

Yes you are correct... FCP treats ANY integer Frame Rate this way, this includes 30 fps and PAL 25fps sequences as well... and of course, it works the other way as well - If you're capture settings are PAL and your sequence is 29.97 then it will pull up to try and match. Oh and according to Apple, this really isn't a bug, it's a feature! Seriously... according to the Apple folks I've talked to - this is the way they think it's supposed to work.

soundboy35
06-16-2010, 03:30 PM
Simple fix...

1. Export as .WAV (yes .WAV)

2. Open Sebsky Tools (click to download here (http://www.peterhaasfilms.com/SebskyTools.zip))

3. Choose bwf2QT under tools. Check your settings, esp. that Timecode standard is set to 24fps.

4. Convert.

5. Give to FCP Editor.

Problem solved.

OK, I have a question(s) while we're still on the subject almost 3 years later...and MAYBE something has changed??

I'm about to start mixing some cable TV stuff, and they are using FCP exclusively. From what I saw today, the project/timeline is 59.94 DVC Pro HD, 720p 60fr, 48k
There will be 4 audio tracks given to me to clean up etc.

What is the best way for FCP guy to export them to me as separate tracks (OMF, or QT, separate tracks, WAV or AIFF) What parameters?

Do I set PT as a NTSC 24fr session or 23.976?

When it comes time to export from PT, do I need to SRC or just leave as is?

What does FCP guy need to do, if anything when bringing it back into his session?

Seems like every time do Apple-I on a FCP file that says AIF"C" I know I'm in trouble....

To make matters more interesting, there will need to be a PAL version given back to FCP guy as well.
Is it possible for me to export all but dialogue out of my same session and get it back to them to match their PAL sequence? What is the best way, as far as pulldown, FR, etc?

Have I reached my question limit? :-)

Cheesehead
07-30-2010, 05:14 AM
I hate to tell you guys, but this not just reserved to 24fps sessions.

I've been having a spookily similar problem for some time now.
see this thread Final Cut Bug / PT Bug? (http://duc.digidesign.com/showthread.php?t=278801)

I hope we can get this sorted as its driving me and my editors crazy.
I'm beginning to think its a ploy to get everyone to adopt NTSC...

Is it an FCP issue or a PT issue?

Sonsey
08-02-2010, 10:56 AM
Hi There...

It's an FCP issue, and you are correct... it's not related SPECIFICALLY to 24fps... it's related to integer (24/25) versus non-integer (23.976/29.97) frame rates. The solution in every case is the same as the one I've posted above. Either make sure the capture settings match the sequence settings (as I've said before - good luck with that - many editors won't know what you're talking about) or use something like the Sebsky Tools to output an Audio Only Quicktime movie, which avoids the whole problem.

BTW.. the very talented Georgia Hilton has an excellent post on the technical nuts and bolts of this problem (and a bulletproof check if it is your problem) on Gearslutz here:
http://www.gearslutz.com/board/f97/geos-sound-post-corner-106320-5.html

José Luis Díaz
08-07-2010, 05:55 AM
BTW.. the very talented Georgia Hilton has an excellent post on the technical nuts and bolts of this problem (and a bulletproof check if it is your problem) on Gearslutz here:
http://www.gearslutz.com/board/f97/geos-sound-post-corner-106320-5.html

I got "Page not found" from that link.
Is this the correct link or is it a temporary net problem?
Thanks Sonsey

Sonsey
08-11-2010, 03:13 PM
Whoops... cached version is still there, but the actual post # has changed:

http://www.gearslutz.com/board/post-production-forum/106320-geos-sound-post-corner.html

Should get you to the whole thread!

Matt Stutter
09-01-2010, 11:28 PM
Just wanted to chime in here and say that sadly this bug is STILL alive and well.

I had a similar call from the producer - all out of sync, it's drifting.... Was a purely 25fps project, all cut from archive footage.

Tried the AIFF trick (after reading this thread) : still no joy.

Sebsky Tools still came up trumps!! Amazing, and yet VERY VERY odd.

Of note, the link earlier in the thread to Sebsky Tools has expired, I found it here : http://www.askincstudios.com/zz_misc_files/stuff//SebskyTools.zip

Noiz2
09-27-2010, 06:56 PM
Thanks for the the plug ;~) I also had a hard time finding it also which is why I decided to put in on my site. You probably got the link from my blog.

diegoperez
12-13-2010, 11:24 AM
Hi everybody,
I'm having the same problem with a short film I mixed in 5.1 and have done everything said in this thread :confused::confused:
Downloaded the Sebsky tools, set it to 24fps and made the QT files and still FCP goes out of sync. Works fine in Pro Tools 8.0.4cs2 and Logic Pro 8.
The mix session was with a DV file with 23.976fps and the up-res version was made with Apple ProRes 422 (HQ) both sync perfectly in Pro Tools but FCP moves the audio around 12-18 frames. FCP says the sequence is 23.98fps

Any ideas? any other info you might need to help me correct the problem?
Thanks
Diego

RYMM
12-29-2010, 09:48 AM
damn, the DUC once again saved my life.
I had to make the editor change his capture and sequence settings, and make them match. it works wonderfully now.
thanks again for this great help, I was going crazy!!:D:D:D:cool:
cordialement

jackhenri
04-27-2011, 01:45 AM
Downloaded the Sebsky tools, set it to 24fps and made the QT files and still FCP goes out of sync. Works fine in Pro Tools 8.0.4cs2 and Logic Pro 8.
The mix session was with a DV file with 23.976fps and the up-res version was made with Apple ProRes 422 (HQ) both sync perfectly in Pro Tools but FCP moves the audio around 12-18 frames. FCP says the sequence is 23.98fps


Hi I'm having the same problem as Diego. Used Sebsky tools, gave the editor the resulting QT, and it's losing sync. What is Sebskys tool doing exactly>? Is it hardcoding the QT with 24fps timecode, so that FCP has a reference? Should I convert the QT into a wav/aiff using QT pro?

Sure I'l come up with some answer, problem is that the editor is in another city, so it's time consuming..

thanks,

Jack
[at]
elevator-audio.
tv

Sonsey
04-27-2011, 07:08 AM
Sebsky just "stamps" the resulting Quicktime file with a frame rate, so FCP doesn't try and adjust. I don't think it was ever meant to deal with 5.1 audio... You'd probably have to make 6 different movies, one for each channel of the 5.1 file for the trick to work. Alternately, get the editor to actually make sure his settings are correct - all the info is here in the thread, so send him a link.

JKD99
05-01-2011, 05:17 PM
Potential fix other than you suggested: The final cut editor can import audio files two different ways:. 1) using import from the menu or 2) dragging the file into their FCP session. Tell the editor if he's having problems to try to use File -> IMPORT audio vs. "dragging from a browser window." I've seen this work once before troubleshooting with an editor with PAL or HD audio issues.

AudioMaster, you just saved my butt, thanks!
I never work with BWAV (always AIFF), but was asked to deliver in BWAV and editor called and said the files were going out of sync, and that the files (from a 29.97DF PT session) were showing up as 24fps.
I read your post, called the editor, and voila: nobody's driving across town in LA on a sunny Sunday evening in post-beach traffic :)
Thanksamillion!

Kris75
07-17-2012, 05:35 PM
OMG!!! I had this happen to me and it just caused me a week of HELL!!! My final solution was to export a file at =.1% from 24. Everything than would be in sync. (This was before I knew of this bug)

After I learned about this bug, I tried to talk to the editor about it but he refused to believe it existed.
Thank you so much for this thread. I am not crazy! YAY:D

panamajack
02-11-2013, 05:15 AM
24fps FCP Sebsky QT workaround . . . .

Cheesehead
02-12-2013, 12:21 PM
Just wanted to update this thread as this bug is still happening and I know when it first happened I thought I was losing my mind.

It seems Sebsky tools no longer works with Lion, so I've come up with another workaround for Lion and Mountain Lion users.

After exporting your Wavs from PT (multichannel or mono), drop them into Wave Agent, which is a free multichannel playback tool available from Sound Devices website, (the people that make the location recorders).

When you drop it in you'll see that PT has not assigned a frame rate to the file.

You can edit the metadata in Wave Agent and force the file to be read as the frame rate of your project. You can also add a start TC if you wish and then save it back to the file.

Since using this method I've had zero problems with files sent to FCP editors.

The only problem is when you forget to do it! ;)

Leverson
05-05-2013, 01:53 PM
Just wanted to extend my thanks to Cheesehead for the Wave Agent tip, and to confirm that using Wave Agent to stamp the files as 24fps fixes the problem and they import into FCP perfectly after that.

This has caused me much grief in the past and the Sebsky tools no longer exist, but using Wave Agent is a quick simple solution to a really pesky FCP problem.

Thank you for posting it.

mgoorevich
06-07-2013, 01:14 PM
May be we need to ask Avid why the PT wave files are not time code stemped? If it supports bwf format, it must contain fps metadata.