Hi folks, I’m wondering how I can achieve this:
It’s about an image film - 5 min length with lots of edits and scenes etc.
The film editor (resolve 19 beta 3) is just about to start and I wonder how to coordinate this: He will insert lots of (artificial / post) slowmotion edits.
So: There will be (Sony fx3) footage slowed down
Apparently resolve would always slow down the audio too (time stretch or pitch down).
I’m doing the whole audio post later and don’t want to count on resolves time-stretch quality but do and control the slow-down myself.
Since I know that the film editor will always set the speed to 80% it’s basically realistic and managable to re-do this whole work it in Nuendo later. Always the same values.
But I wonder: how I can have the raw (not already pitched down by resolve) audio?
My problem: Production audio was recorded 48/24 IN-camera (only 1 or 2 channels). There is no useful metadata from a professional field recorder. There was no dedicated boom operator or so at all.
I fear that Nuendos field-recorder-import won’t work for me with “file names” as a criteria but only with certain metadata, right?
Not an Nuendo field-recorder-import-tool expert here but I think I had a similar issue once that I had WAV clips with no audio metadata and couldnt import them via field-recorder-import-tool.
By the way: I have the whole production files (around 1 TB of mpeg4 video-footage) available here but I fear I can not get the audio (from lots of 4K mpeg-4 video-footage files) reconnected within Nuendo?
Or can I?
The only workaround that comes to my mind:
Telling the film editor to NOT use “time stretch” in resolve but instead traditional “slow down” pitch and give me enough handle frames with the AAF - so i could speed up the particular pitched down audio clips in Nuendo and work with it from there.
(I guess that could work, right?)
However: Is there a better way to deal with it in context of reconnecting with the original audio of the 4k mpeg4 footage - that I have available?
fyi: I own nuendo 13 but didn’t update from the latest N12 built
since I have a big project not finished yet that I started in 12.
Just saying if the field recorder import tool in N13 was upgraded and “solves” my problem: I could to N13 hypothetically.
Thanks a lot in advance. Not a native speaker, hope it all made sense.
I don’t know you or the project and don’t want to sound blunt but your technical issue may be less important than you think.
Without getting too much into tech details: i rarely use the set/production sound for slow down scenes. The mics have little spectral information above 15khz (transmitters/wireless booms cut off there) also 48khz samplerate sounds dull when slowed down.
But even more important: my job is to tell a story through sound. Our job is not to be realistic and use the production sound (only). Prod sound will probably only give you noisy takes with too much sonic information for a nice sounding slowdown.
Most of the time you design such scenes from scratch with source material that is recorded in isolation at high samplerates.
Technically you are thinking in the right direction, yes it is better to get the raw source as well as the slowdowned version. But the point is to make the scene work.
Good luck!
Hey @sys_soundpost ok, you are experienced enough, good! because this is a challenge
Since you have no metadata in the wav files no tool out there can deliver an automated approach that is flawless. N12/13 field recorder import simply needs more information to work unless you can get more metadata, the way to reconnect is basically finding all the elements and line them up with the original unstretched/pitched version.
I would instruct the video editor to at the very least:
Dual tracks: Let the video bring all production sound that will be ‘slowed down’ to 2 seperate tracks. Let them do whatever they want on track 1 , just leave the original on track 2 unharmed (but volume or clip gain on zero). This way you can edit the files yourself and have a sonic reference to the intention of the editor. Test this with them.
Handles: If possible don’t ask them to give you handles, request complete wav files of the timeline events. yes, it will be a big AAF (or a big media folder) but it is important to just have everything available on the timeline.
AAF test import: before you start going further, do a test run with some of the editors material from the AAF from Resolve. Import the work (with some slowed down stuff + unharmed stuff) and also some automation. I’ve read that AAF’s from Resolve are sometimes hard to import (search the forum for tips by @fredo) . Try it first with a small set of edits and also do one with a rough cut.
Structure: ask the editor to be as structured as possible with the tracks. proper organisation is key to getting through any project but in this case it is even more important.
BTW you can install both N12 and N13 on 1 computer, no problem. Both will work. so you can test if there are benefits to working in N13 ( I think there are).
Hmm . Maybe it is the way you ask the question: You share a lot details about the production but in the end the real question is one sentence?
And i’ve answered that already (it doesn’t matter since there is not metadata , field recorder is nothing magical).
But Just install n13 and you get your answers or contact a representative.
