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Adding SMPTE to a music track for playback for video.


Influxaudio

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Hi Guys . I hope this is the right section to post this question !

 

I have a job coming up where i'm required to do playback for a music video and I need to add timecode to a music track the director sent me. I believe its standard to have time code on one channel and the music track on the other but I was wondering how I would do this in either Pro Tools or Logic ?

 

Also I know In certain cases I'll want to speed the audio up so they can get that slow motion effect

I was told that if they are shooting at 24/23.98fps, the 36fps track needs to be sped up to 148.81%, and the 48fps at 200.80%.

 

What is the easiest and most accurate way to do this ?

 

Any help would be very much appreciated.

 

Thanks

 

IA

 

 

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Hi, and welcome...

" I need to add timecode to a music track the director sent me. "

There have already been numerous discussions of music video workflow's, including TC and vari-speed, some pretty recent.

there are a number of "it depends", and there should always be a workflow test.

" its standard to have time code on one channel and the music track on the other "

not so much

 

one of our regular contributors even has developed some appropriate software for Windows...

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SMPTE TC can be confusing and complex, not necessarily plug'n play.

 

 

Which is why I'm coming here for help sir  !

 

I'm just looking to add timecode starting from 00.00.00 and running at 23.98 / 24 FPS 

 

can anyone tell me how this could be done in Pro Tools or Logic please ?

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" I'm just looking to add timecode starting from 00.00.00 and running at 23.98 / 24 FPS "

If      you want to add it as an audio track, you could use a SMPTE generator and record its output...

 

" I'm just looking to add timecode starting from 00.00.00 and running at 23.98 / 24 FPS "

those are two different rates,  select the proper rate on the generator.

In the past, most professional Music Video shoots had their tracks preped for on set playback, there were several major studios that offered the service, along with a full range of services in music video prep packages ...

There are still a lot of 'it depends'...

does your PT have TC capability? this might simplify your methodology and workflow...as could a TC slate...

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You can use 1/4" output of slate to generate TC signal. Record it to a track. Add it to your timeline. Lock the tracks together. It doesn't matter where the TC starts, so long as it's fixed to the playback track and is supplied to editorial.

You can type "JWSound music video" in google search to get more info on doing playback for music videos.

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Thank you Robert for starting this off the right way.  As Robert said, it doesn't matter the start point of TC, as long as you have an adequate pre-roll.  Give yourself a good 20 seconds or so.

 

Give the TC it's own output and send that to a good transmitter, I prefer to use a Lectro UH with a UCR411 receiver velcro'd to the back of the slate.  Some folks get by with a Comtek, Sennheiser G..., or other, but I find the Lectro to be rock solid for lots of distance.  I use redundant receivers for several slates when needed.

 

As for off speed, that's a whole bag of tricks...  You can use the Pitch Shift in Audio Suite of Pro Tools.  Time Code does not behave well with Time Correction.  It will do fine just cranked up to the ratio you desire.  For the audio track, first you must pitch it up to the ratio of Frame Rate you desire with no Time Correction, then you must bring it back down WITH time correction to get the actual pitch to match.  I will use this example for a 24 frame to 48 frame crank:

 

Highlight the audio track and go to Audio Suite/Pitch Shift.  Enter 2:1 as the ratio but have no X in the Time Correction box, render it.  Then go to Audio Suite/Pitch shift and enter .5:1 but put a check in the Time Correction box, render it.

 

Figure out the ratio that apples to the frame rate and insert...

 

Hope this helps.

 

PWP

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Thanks both Phil and Robert your answers really are very helpful

I appreciate the quality help from busy professionals such as yourselves !

 

A couple of points I wasn't 100 % clear on

 

@Phil regarding the 20 seconds of pre roll , would it be advisable to have the time code running during that time . so the music would start at 00.00.20 

 

@Robert I believe the chipmunk effect is what they're after for this job. if thats the case am I right in thinking I only have to speed up the audio ? What do you use for that . Also are these ratios correct in your opinion ?

 

24/23.98fps - Regular speed

36fps track 148.81% faster

48fps -  200.80%. faster

 

Thanks very much guys,

IA

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Tradition has it that the audio of the music track, ie the first moment of the music, starts at 01:00:00. This is deemed to be better that 00:00:00 for various reasons.

Kindest regards,

sb

or at 10:00:00

sb

Yes of course.  But for the purpose of syncing master audio to shot after shot, i.e. music video, any time code will work.  As the TC is just for referencing a sync point.  After sync...the TC is no longer needed.

 

PWP

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Here's the links where this was discussed in great detail:

 

 

 

The trick I determined is that I couldn't add timecode to an existing piece of music; instead, I took a track with timecode and dropped the music into it. That works fine. 

 

You really need Pro Tools or another timecode-savvy DAW to do this correctly. For varispeed playback, I just use audio on Channel 1 and timecode on channel 2, then pipe the audio into a compatible Denecke slate. Note that humans generally can't sing more than 50% fast without screwing up, so (to me) 36fps is about the limit.

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 Note that humans generally can't sing more than 50% fast without screwing up, so (to me) 36fps is about the limit.

Hmm.  Completely depends on the song.  I do 2x about once a week or so.  My actors must not be human.  That explains a lot.

 

Actually just prepped a 3x and 4x of a song.  4x isn't likely, but I'll enjoy watching it fall apart.

 

PWP

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Ratios are just math, and your math seems correct at a glance. Pitch adjust makes it easier for singers, I'd imagine, and crew to tolerate take after take.

Just record whatever TC you can out of your slate, and be sure there's a good 30 seconds or so of code in your time line before the song starts. Time enough to get TC running on slates and camera to get the slates and then clicks/beeps and then song starts.

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I typically start the song at the time code's one hour mark which allows an easy minute count during the song (more for post than for me) and there's never a concern about having enough time code pre-roll for a count-in.

Knowing the camera's frame rate is critical. 24fps & 23.976fps are not the same thing! The shorthand 23.98 actually means 23.976, however, some people erroneously say "24" when they actually mean "23.976" (they're two different rates), but you should never assume this. Always determine the correct frame rate.

If they're shooting at a true 24fps, you may need to adjust both the song and the time code for a pull-down in post.

Prior to shoot day confirm your settings and workflow with post.

Be aware that the director may wish to start playback from any given point in the song and if the musicians and singers are expected to be playing and singing starting at that point, you need to give them sufficient pre-roll prior to the measure where they are expected to start. There's also the issue of having sufficient pre-roll for 1) the slate to roll numbers, 2)the camera to start, and 3) the take to be slated. Of course, if you overcompensate, the director will likely be annoyed by the slack time.

I.O.W., it's important for you to be able to quickly establish re-cues at any point in the song.

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never start at 00:00:00:00 ever (you've seen the movie Gremlens?, it's worse)

for 24fps, TC start at 00:59:04:00 then Music at 01:00:00:00

I would start the 36fps at 01:59:04:00 then Music at 02:00:00:00

then the 48fps at 02:59:04:00 then Music at 03:00:00:00

if shooting 23.98 adjust by 0.01%

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Hmm.  Completely depends on the song.  I do 2x about once a week or so.  My actors must not be human.

 

Elton John couldn't do it on a project I did in the 1990s, and I was told by the director that they already assumed that 150% would be about the limit. No question, it depends on the song and the singer. If it's a fast-paced song, no way. If it's a long ballad, then I'd say 200% is possible.

 

I agree with CraigF above that starting at 1:00:00:00 straight up for the start of the song is a very wise idea. I would also advise testing the process thoroughly to make sure everything will resolve correctly. In truth, most music video shots don't last longer than 10 seconds anyway, but there are always exceptions. I'm reminded of a video I worked on in the late 1980s, Steve Perry's "Foolish Heart," which was one shot that lasted almost four minutes. Sync on that had to be absolutely perfect, and luckily for us, Steve did a perfect job lip-syncing.

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