Audio set up for Music video 29.97 or ?

[BigLu]

This is for a Music video.
The question was coming from production for Audio set up.


If i am shooting 24fps what should audio be set up as?
Do i need to set the RED up in 23.98 or 24?

Can someone please make this clear thanks.

I want to be able to respond to audio properly.

[Andrew M.]

What is the end product, film or broadcast?

[Stuart English]

Audio at 29.97 and RED-ONE at 23.98 is best. Use two Ambient Lockits, cross jammed, so that each recorder gets its own synced timecode...

Audio at 23.98 with RED-ONE at 23.98, or audio at 29.97 and video at 29.97 would be even better, but usually no such luck in the US.

[Trevor Meier]

We've got two big shows now shooting pure 23.98 timecode for picture & sound on the RED (Scifi and Lifetime). 23.98 everywhere. Makes everyone's life much easier.

[Stuart English]

We've got two big shows now shooting pure 23.98 timecode for picture & sound on the RED (Scifi and Lifetime). 23.98 everywhere. Makes everyone's life much easier.

Well done! That really is the best way if you can persuade everyone to do it...

[Tommy]

I'm not sure I understand why audio is recorded at 29.97fps while recording a 23.98fps picture if it's easier to work with 23.98 across the board.

[Sound Sorcerer]

I'm not sure I understand why audio is recorded at 29.97fps while recording a 23.98fps picture if it's easier to work with 23.98 across the board.

If you cant understand the workflow doesn't means it won't work... It's just a matter of post-production requirements as to fulfill their necessities.

[Tommy]

I guess my question then is, why wouldn't I want to shoot 23.98 across the board? I'm trying to figure this out for a shoot I'm working on and if you don't mind giving me some direction or clues as to the reasoning I'd appreciate it! Right now my understanding is just that not all equipment is capable of running 23.98 timecode (ie. audio recorder/slate). So, if it's the frequency of the signal that matters most (48/96kHz) then I'm not sure exactly what the issues are beyond equipment though I have a hunch that they might involve NTSC deliverables. Thanks, Tommy

[Vince K]

Audio at 29.97 and RED-ONE at 23.98 is best. Use two Ambient Lockits, cross jammed, so that each recorder gets its own synced timecode...

Audio at 23.98 with RED-ONE at 23.98, or audio at 29.97 and video at 29.97 would be even better, but usually no such luck in the US.

Excuse the learning curve...but why 'no such luck in the US' ?

[farroutpro]

Audio at 29.97 and RED-ONE at 23.98 is best. Use two Ambient Lockits, cross jammed, so that each recorder gets its own synced timecode...

Audio at 23.98 with RED-ONE at 23.98, or audio at 29.97 and video at 29.97 would be even better, but usually no such luck in the US.

This is the defacto standard for North America.

[Sound Sorcerer]

I guess my question then is, why wouldn't I want to shoot 23.98 across the board? I'm trying to figure this out for a shoot I'm working on and if you don't mind giving me some direction or clues as to the reasoning I'd appreciate it! Right now my understanding is just that not all equipment is capable of running 23.98 timecode (ie. audio recorder/slate). So, if it's the frequency of the signal that matters most (48/96kHz) then I'm not sure exactly what the issues are beyond equipment though I have a hunch that they might involve NTSC deliverables. Thanks, Tommy

Sorry if I didn't explain. When you jam sync 29.97 TC from your recorder to a digital slate set to run at 23.98 (AKA 23.976) your digital slate or (Lockit box) would pick up TC from the full second value and regenerate TC from there. What's important here is that 29/97 & 23.976 are "compatible" values and would not cause any drift when syncing image & sound on a NLE like FCP.

[Brandon Kraemer]

What's important here is that 29/97 & 23.976 are "compatible" values and would not cause any drift when syncing image & sound on a NLE like FCP.

These values are compatible in part because they both have "pull-down" or they run just slightly slower than their pull-up frame rates, 24 & 30. Film transfered to video on a tele-cine, if shot at 24 fps is played back at 23.976 fps so it resolves to the 29.976 frame rate correctly (with 3:2 cadence added in). If film is shot 30 fps, it plays back at 29.976 on a tele-cine. So sync sound recordings needed to be run at 23.976 or 29.976 fps to line up properly to this pull-down in speed in post.

The RED shoots progressively in 23.976 fps or 24 fps. For your task you need 23.976 (expressed as 23.98) for reasons rooted in the film to tape model. Because of all the frame rate options out there to be clear if someone says 24 fps I try to make sure they don't really mean 23.98.

[Corey Steer]

Ok...so if you were shooting for a possible film out why not just shoot 24fps (not 23.98) audio, video and TC?