Appendix 1

Initial Audio Workfl ow, Importing Production Audio, and Syncing
production audio has time code, the time code is cloned onto the DA88 tape keeping the same time
code as the slate and production tapes. If the audio needs to be pulled down, this can be done in this
transfer. For example, if the production audio was recorded with a sample rate of 48,048, it can be
played at 48,000 in the transfer. If the production audio was recorded at 48,000, the DA88 can record
at 30 FPS and be played at 29.97 FPS in telecine. All recorders and players will be locked with the
same “house sync” reference during the transfer. Analog Nagra audio can also be locked to
the house sync video reference during the transfer causing the Nagra to play .1 percent slower. If the
production audio has no time code, time code will be added in this transfer and the audio database
will now reference the DA88 transfer rather than the original production audio.
During the transfer, the time code locations of the clapper sticks are noted in the transfer logs. Syncing
can now be done to these logs. The telecine colorist simply parks on the frame where the sticks can
be seen fully closed, and then enters the audio time code location from the transfer log, which brings
the DA88 into sync with the fi lm. The telecine and the DA88 are both locked to the same house sync
so there are no sync errors or drift.
Capturing Audio
Digital Capture
Audio can be imported directly into Final Cut Pro if it was recorded using a recorder that records
directly to memory chips or disc and if the audio does not need to be pulled down.
A workfl ow that is often used, but is defi nitely not best practice, is to dub the DAT or Nagra tapes
to DV videotape and capture the audio from the DV tapes. There are several problems with this
system. First, while some workfl ows recapture the audio in sound design, most current workfl ows
utilize the original audio in the fi nal mix. So this transfer must be done well with proper levels. Many
DV recorders do not have good metering; some don’t have any at all and yet are sometimes used for
this transfer. And the DV recorder may introduce noise from its analog input.
There are also sync issues. The DAT or Nagra is soft locked to its internal clock. The DV recorder
is soft locked to its video input. The DV recorder will also be soft locked during capture of both
video and audio. So, while the sync may be fair, it’s not great and may be drifting in and out.
Tape Capture
If the audio needs to be captured from tape, or if it needs to be pulled down, this is best done in Pro
Tools. For recording from tape, whether analog or DAT, the tape player will be patched into the Pro
Tools inputs on the input-output interface (i.e., Pro Tools M box). A preferred system would be to
use a Pro Tools HD or system that would allow the DAT or Nagra to be “hard locked” to the Pro
Tools system by supplying the same sync reference to be sent to the Pro Tools Sync IO and the Nagra
or DAT.
Or, in the case of DAT, the Pro Tools system can be locked to the DAT by using the SPDIF input
and SPDIF sync reference on the Pro Tools HD IO interface. The SPDIF sync input locks the Pro
Tools system to the clock in the DAT player insuring hard lock. SPDIF is also a digital-to-digital
audio transfer that will insure proper levels and no addition of noise.
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