bendybones Posted August 25, 2012 Report Share Posted August 25, 2012 In what situation is 48048Hz used rather than 48000Hz? ...besides "when post ask for it" Thanks Quote Link to comment Share on other sites More sharing options...
Wandering Ear Posted August 25, 2012 Report Share Posted August 25, 2012 48048 is used to compensate for pull down. Shooting on film, and delivering on video is one situation where 48048 would make sense. Quote Link to comment Share on other sites More sharing options...
bendybones Posted August 25, 2012 Author Report Share Posted August 25, 2012 Thanks Wandering Ear! Quote Link to comment Share on other sites More sharing options...
RPSharman Posted August 25, 2012 Report Share Posted August 25, 2012 It used to be a workflow reserved for TV. Shot on film at 24fps and sound at 30fps 48048. Transferred with pull down to create 29.97 video and audio with 48k sample rate. But I just did a feature reshoot. Big movie. Shot on film, but HD post workflow. Used 30/48048. Robert Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted August 26, 2012 Report Share Posted August 26, 2012 Good explanation about 48.048 by Julian Daboll on Trew Audio's site: http://www.trewaudio.com/audioflow/2007/03/19/48048-khz/ I'm not convinced 48.048 is necessary anymore, particularly at a time when so many digital cameras are running at 23.98, and I don't think SRC is the big bugaboo it used to be ten years ago. Quote Link to comment Share on other sites More sharing options...
Morantzsound Posted August 30, 2012 Report Share Posted August 30, 2012 Finishing up a movie right now shot on film 30 fps 48.048 Quote Link to comment Share on other sites More sharing options...
Jeff Wexler Posted August 30, 2012 Report Share Posted August 30, 2012 Film jobs at 48.048 make me nervous (but I've done a few and everything works out okay). The pull up/pull down has to be done somewhere along the chain for film jobs and having 48.048 on the production track (referenced at the first stage to 48.0) accomplishes that. The part that doesn't work out so well is when other people involved with the tracks later on down the road sometimes do not know if the tracks have been pulled down/up or not --- results in a double pull down/up and serious sync problems. Also, the use of 48.048 basically fools the next device down the line so it is something that needs to be documented since the file D/stamp will not tell the whole story. Quote Link to comment Share on other sites More sharing options...
Marc Wielage Posted August 30, 2012 Report Share Posted August 30, 2012 Agreed. 48.048 can work, but I strongly recommend a workflow test prior to the start of production. As long as everybody's on the same page, it works fine. I spoke to three different re-recording engineers this year about the use of 48.048 for dialogue, and they all rolled their eyes and said, "who the F cares anymore?" (almost to a man). And yet, we know of studios that still have this as a policy... Quote Link to comment Share on other sites More sharing options...
Jordi Cirbian Posted September 4, 2012 Report Share Posted September 4, 2012 My recorder Aaton Cantar-x has some presets for shooting in 23,98 but you should now the editing software where the assistant editor is gonna sync up everything. Once I fucked this up, shooting in 48k instead of 48048 cause I set avid instead of fcp and the first two days of the shooting, untill they've notice that something was wrong I had to re-convert one per one every single track manually. A Nightmare if you have to change the whole movie. Quote Link to comment Share on other sites More sharing options...
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