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Author
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Topic: GS 1200 PC Sync Questions
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Evan Samaras
Jedi Master Film Handler
Posts: 513
From: Queens, NY, USA
Registered: Oct 2015
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posted March 22, 2016 01:07 PM
Hi everyone,
My first GS1200 is on the way =)
I have been preparing to have some fun re-recording some of my German language films. I would like to start off by thanking Alan for the information and assistance he has provided me through my learning process.
I have soldered a 1/4" to a 6-pin din according to an older post I found from 2006. I have also generated 23.976hz wav files to keep the projector in sync(one at 48000 samples and one at 44100, not sure if there is a difference/preference?).
However, I wanted to prepare the audio file for my first re-recording, and this is where I ran into some difficulties.
Upon importing the video/audio file into Cubase (my DAW), it rounded the video to 29.97fps. I noticed further into the movie, the audio began to drift, and I assume it was due to the difference in video, where it is supposed to be 29.967fps.
Is the solution to my problem using a DAW that will allow me to set the fps to 3 decimal points?
I also wanted to ask how others worked on their syncs re-records. Do you use a digital camera to record the projection and then load it into the same program for comparison when editing audio?
I hope I have been clear in my ramble. Thank you for your help in advance!
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...When there's no more room in hell, the dead will walk the Earth...
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Andrew Woodcock
Film God
Posts: 7477
From: Manchester Uk
Registered: Aug 2012
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posted March 22, 2016 05:23 PM
To gain perfect sync for an entire film, especially a full feature in one run, is a really difficult thing to achieve in reality.
One frame missing or differences on the digital source..and its game over.
For my own recording purposes the method I've found to be the most reliable and flexible, is to be able to control the speed and tempo of the digital copy "on the fly" so to speak.
So long as your projector has a stable running speed for a decent duration of time at least, and the GS 1200 is one of those machines that does, then by having the ability to increase or decrease the tempo (while maintaining the pitch), of the digital copy by fractions of a percentage, then with little practice while monitoring the image of both the film and digital copy, you can achieve highly successful results over 600ft lengths of film at a time at the least.
I found it took a little practice to begin with, but over time, it becomes a skill that proves invaluable especially when a digital copy may not necessarily be identical to the actual film on a frame by frame basis.
You will soon begin to learn skills like cutting into a scene from where you began to see a miniscule of drift between the two, and then by re recording the odd scene here and there again, you will perfect each reel of Film one by one as you go.
It's time consuming using this method, but it allows total flexibility by being able to "find" a projectors running speed on any given day, so long as the, the projector speed doesn't drift hardly any.
With the GS of course, you have the added advantage of being able to lock down the running speed in the manner you are seeing already, but then you need software to match that running speed exactly and allow for minute changes on occasions.
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"C'mon Baggy..Get with the beat"
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Bill Brandenstein
Phenomenal Film Handler
Posts: 1632
From: California
Registered: Aug 2007
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posted March 23, 2016 04:17 PM
Evan, I think you're on the right track and should eventually get great results. I've found it to be a LOT of work, however.
The reason you're getting drift will depend on the movie and the audio engineering. There are several varying standards for movie audio for "pull up" and "pull down" which made a complicated issue even worse. For 24fps at 23.976, a perfect digital master should actually be 48 samples short per second, but that number doesn't seem to ever be consistent when I've encountered it. And are the studios mixing to 23.976 or 24.000? Who knows! How DVD authoring software copes with sample rate pull-down, I don't know, because using Encore DVD you simply can't have sample rate issues. It won't allow it.
My best re-record options have always been achieved by creating a "locked" audio reference track from the source film, or a "locked" telecine, creating a master audio cut in the DAW that fits with the existing media, then recording it back out. Of course, that requires having marked "start" frames and an unchanging film cut.
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