syncing QT and audio

[the19thbear]

Ok... Lets get back on track with this baby!


Now that being said - thanks for all the comments to my question!

-I have been thinking - and yes, i am probably beating a dead horse here (i love that expression and, secretly, would love to actually try it some day, but dont tell my wife and kids), do i REALLY need a SYNC hd?
The rosnedahl nanoclock spits out both video and audio sync, locked together. Since i would be using feeding a sync hd videoclock, and in turn, feeding wordclock from the sync hd, why not use one interface (the rosendahl) that can do both?

Thanks again:)

[Ray JB]

Originally Posted by the19thbear

Ok... Lets get back on track with this baby!

Now that being said - thanks for all the comments to my question!

-I have been thinking - and yes, i am probably beating a dead horse here (i love that expression and, secretly, would love to actually try it some day, but dont tell my wife and kids), do i REALLY need a SYNC hd?
The rosnedahl nanoclock spits out both video and audio sync, locked together. Since i would be using feeding a sync hd videoclock, and in turn, feeding wordclock from the sync hd, why not use one interface (the rosendahl) that can do both?

Thanks again:)

Hey there,

yes, getting back to your original topic, the reason you need a Sync HD with ProTools is as Frank said, it provides ProTools the hardware sync interface to enable your audio to be locked to the leading edge of the picture frame and stay in sync. What you have with the Rosendahl, is a really nice sync pulse generator, i.e.: the source of the clock for your system. The sync HD then aligns audio playback so that (with a correctly adjusted video offset) you'll have repeatable playback that is synced with that clock source.

As far as I know, the Avid does not spec the Rosendahl as a device that can do that lockup with ProTools, they sell their own Sync HD for that.

So if you want to achieve tight repeatable sync with your pictures and Avid ProTools, you have to use their box. Many of us use other sync generators as the master clock (AJA Gen10, Blackmagic etc), yours looks like it would do a great job at that :- being able to deliver you a sync source that can adapt to pretty much any kind of video codec that you'll need. You've already got most of the chain.

Hope that helps

Ray

[the19thbear]

Thanks!
:)

[Frank Kruse]

Originally Posted by the19thbear

Ok... Lets get back on track with this baby!


Now that being said - thanks for all the comments to my question!

-I have been thinking - and yes, i am probably beating a dead horse here (i love that expression and, secretly, would love to actually try it some day, but dont tell my wife and kids), do i REALLY need a SYNC hd?
The rosnedahl nanoclock spits out both video and audio sync, locked together. Since i would be using feeding a sync hd videoclock, and in turn, feeding wordclock from the sync hd, why not use one interface (the rosendahl) that can do both?

Thanks again:)

Yes you can clock audio and video with something like the rosendahl. Thing is, only with the SYN I/O PT will be able to maintain edge sync relating to the TC position of your timeline so that at TC 01:02:03:04 it will play back the identical film frame and audio sample. Without the sync I/O it's better than no clock at all but there's no way for PT to lock it's timeline position to the edges of the master-clock.

Frank.

[Frank Kruse]

Originally Posted by Kasper

Blah, blah, blah....

If it works, it works.

The need for elaborate sync devices is long gone in a purely digital workflow.
If the QT is conformed, with all frames of the same length, it will be in sync.
A digital file is the same length on any system - regardless of the peripherals attached.

Not quite. It will be the same length on your hard-drive but if it's played back on a rubbery grid or audio and video played back on two different clocks your playback ill look out of sync. Or even if it looks sync it could be just a random combination of badly synced audio played back in a way that it seems sync.

There's no way for you to judge sync without running a clocked and locked system that is a reference.

How will you ever know your ADR is sync when your system plays back with an error of +-1 frame randomly every time you hit play? What will you do when your client comes back from a screening saying it looked out of sync in the theatre?

Will you say "well, it looked sync on my non-genlocked system."? (The system that plays back with +-1 frame or more or sometimes less)

I couldn't work this way. It's like trying to mix a theatrical film without being calibrated to the correct SPL.

[mgoorevich]

Originally Posted by Frank Kruse

How will you ever know your ADR is sync when your system plays back with an error of +-1 frame randomly every time you hit play? What will you do when your client comes back from a screening saying it looked out of sync in the theatre?

Will you say "well, it looked sync on my non-genlocked system."? (The system that plays back with +-1 frame or more or sometimes less)

I couldn't work this way. It's like trying to mix a theatrical film without being calibrated to the correct SPL.

It seems that Kasper mostly works in TV / multimedia area where the sync issue is less sensitive. Therefore he has no clue whats going on in the theatre on a big screen.
However as he mention, he is exiting, which is an unprofessional way to admit own mistakes.

[Frank Kruse]

Originally Posted by mgoorevich

It seems that Kasper mostly works in TV / multimedia area where the sync issue is less sensitive. Therefore he has no clue whats going on in the theatre on a big screen.
However as he mention, he is exiting, which is an unprofessional way to admit own mistakes.

Well it's one thing to work with something you can live with even if it's not sync but another saying that genlocking your rig is "blah blah"...

pointless discussion really....