Offline bouncing 24 FPS material to 23.976 audio files - Workflow question
Hi all,
I'm trying to take my delivery prep stem session, which is natively 24 FPS, and offline bounce it to create 23.976 FPS audio files for various deliverables. I understand that the traditional method of creating deliverables in a different frame rate is to import the original audio into a session with the desired frame rate and sample rate convert the audio in the import menu, but I'm looking to natively offline bounce, and I have attempted two methods; both which yielded undesirable results: Method 1: 0.1% Pulldown (Film to NTSC) Audio setting in session settings activated, and session frame rate changed to 23.976 FPS prior to bouncing. The problem with this method is that while the audio has had the pullup applied properly and does not drift against 23.976 FPS picture, the end timecode of my bounce is actually incorrect, and my audio ends up being incorrectly time stamped, making this option not viable. Method 2: Keep Session Settings at 24 FPS with no audio pullup, and select the 0.1% Pulldown (Film to NTSC) sample rate setting in the offline bounce menu. The problem with this method is that when attempting to import this audio into a session to check it against my 23.976 video, Pro Tools sees these audio files not as 48000Hz files, but as 47952Hz files and warns me that while I can add them to my 48000Hz session directly, they will not play at the proper speed. After getting rid of these nagging dialog windows, the files of course play at the proper speed (they are also time stamped properly and have the correct in and out points!), but I can't deliver 47952Hz audio files. As a workaround for this project, I'm just reconsolidating the 47952KHz audio files I've made, but this is taking an eternity and is far from ideal. Having exhausted these two options for the reasons I've just laid out, is there any viable workflow to offline bounce 24 FPS material to 23.976 FPS audio files or vice versa within Pro Tools? Or is converting existing audio files on import the only way this can work properly? PS. The "Film to NTSC" and "NTSC to Film" descriptors are the wrong way around in the offline bounce menu's sample rate settings, which I also learned the hard way. |
Re: Offline bouncing 24 FPS material to 23.976 audio files - Workflow question
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I print everything at the working frame rate. Then, I do what you call the "traditional method". Works every time. Always bang on in sync. Pretty darn fast. Why not use this method? In my experience, the "Film to NTSC" menus are correct in the Import & SRC menu. |
Re: Offline bouncing 24 FPS material to 23.976 audio files - Workflow question
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It's the offline bounce menu's sample rate settings for pulling down or up that have the descriptors the wrong way around, and it's the offline bounced files with the pull down sample rate setting that actually get flagged as 47952 Hz files. |
Re: Offline bouncing 24 FPS material to 23.976 audio files - Workflow question
Hunh. I see. Not sure, especially given the clip groups workflow....
Off the top of my head, you could dump those 24fps deliverables in Zynaptic (Prosoniq) Time Factory II and do the pull in there offline. Side question: Reels with pullups were necessary in the analog(ue) film days. Do we need pullups in the digital reels days? |
Re: Offline bouncing 24 FPS material to 23.976 audio files - Workflow question
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Re: Offline bouncing 24 FPS material to 23.976 audio files - Workflow question
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And yes like Marti said, pullups are standard for features, and when you do them right like with the clip group method I laid out, it ensures sample accurate, perfect joins in a DCP with no ticks or other anomalies, and if the stems get updated destructively, the delivery prep session referencing them will also be updated without having to punch multiple generations of stems. |
Re: Offline bouncing 24 FPS material to 23.976 audio files - Workflow question
EDIT: several posts were added before my reply
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Re: Offline bouncing 24 FPS material to 23.976 audio files - Workflow question
If I remember correctly the pull up/down only marks the files with a certain sample rate. Importing them into a new 48kHz session does the actual conversion so you will always need to do this 2 step process. In my experience it's easier to export as working framerate and import with the target conversion applied at the import, not the export. So this in-between version, either long play or weird sample rate, is unavoidable.
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