Test your post workflow before production so that you know it works. We did shoot at 25 frames per second since we are in Europe. The camera and audio device could maintain the correct speed for the duration of a complete film roll (11 minutes). I used to be on a TV film crew in the 90’s We did not sync audio (Nagra / Dat) to camera (Arriflex 16 SR II) when shooting because there was no need. Each scene should stay in sync for the duration of the scene with no problems as long as your cameras speed is stable and correct. Since this is film you will be shooting only a couple of minutes max anyway. Just clap your hands or a clapperboard in the picture in the beginning (or end) of each scene. I suggest you use the old fashioned very very simple workflow. On file based platforms Youtube etc you can use 24, 25 fps and this will simplify your post workflow. If you are planning to using 23.976 fps you probably already are in trouble because of the poor NTSC standard Note that 23.976 fps and pulldown are only needed if you will broadcast your film on NTSC television. The video file framerate should be exactly the same that you shot the film with, otherwise you get in trouble. I understand if Ardour devs aren’t interested. And a pulse recording from the camera as reference. Audio drift somewhere ± 1 millisecond per frame. In this case the image frame rate would be about 41.6 milliseconds per frame. And there are already tools to stretch or compress audio. Think of it like using the sync pulses to snap audio to the grid. But there would still be unsyncrhonized drift between video playback and audio…So, the pulse stream gives enough data to compress or stretch audio per frame to synchronize. Audio would have been recorded on a digital recorder, known and synchronized. To record the sync signal from the camera and audio during filming directly to a digital recorder.įilm would be lab processed and scanned to a digital ProRes or DPX file at 23.997 fps. The goal here is to remove old reel to reel and 4 track tape recorders from the workflow. A 200ft roll of 16mm processed and scanned to 4k is just a few hundred bucks. But for those shots with a lot of motion - action shots, or fast pans - where rolling shutter affects the image from a digital sensor, a few shots done on real film stock gets you global shutter on the cheap. Typically, a hybrid approach where the majority is shot on digital. They’re generally the cheapest thing to rent if you happen to want a 16mm or S8mm sync sound shot.ģ5mm? You sound like the kind of guy who gets paid to do this.ĮDIT: It occurs to me some might ask: Why would anyone want to do this? Well, film is in resurgence. You still see them in rental houses with old gear, renting out ancient Arri, Bolex, Beauliu, and Braun 16mm / 8mm cameras which were once used for news or short film. And with these old camera motors, there’s considerable drift. The pulse stream would go to a portable reel to reel or 4 track cassette modified for sync pulse playback. No meta data or digital encoding involved. They just send a reference pulse for every frame of some single frequency tone. The systems I’m talking about are from the 50s - 70s, and they’re dumb. That system is newer, probably from the 80s.
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