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TIMECODE CALCULATOR APP MOVIE(This usually only happens after the movie is on the dub stage and they're asking for just one more little thing to go on top of the stems they're already mixing against.) On bigger projects I use a separate Pro Tools machine to record my stems into - this way the Pro Tools session represents the whole movie (or the whole reel in the case of multi-reel projects) and I can easily hear how the current cue in Logic will overlap with the next / previous cues that are playing from Pro Tools.ĭefinitely 1 project for 1 cue. This project is also built from my template, so I can overdub just one string line or whatever on top of a finished set of stems at the last minute and re-bounce if needed without loading up the original cue's project file. To see the "big picture" I create a separate "whole movie" project in Logic into which I dump rough mixes as I work, and then the final mixes as they are finished. With "preserve" turned on, the VEPro setup stays the same as you load various cues in your DAW. VEPro is nice if you're using lots of Kontakt instruments. TIMECODE CALCULATOR APP DOWNLOADA free one is available from the same guy who makes VideoSlave, download it here by signing up to his email list: TIMECODE CALCULATOR APP CODEA time code calculator app can help if things get really complex. Adjust the timecode / tempo map for each cue that's affected - individually. But if you have or can get a spare Mac, then VideoSlave is an excellent way to go. ![]() The time code counter in Logic will always match the visual time code in the movie if you're doing it right, and the tempo map controls where the music falls relative to that. But in terms of time code, having the video inside Logic itself is no different - adjusting the Project start point just moves the music around relative to the video. TIMECODE CALCULATOR APP MACI run video on a separate Mac Mini using VideoSlave software, so I can just slip and slide the cues in Logic against that. Sometimes I do one of the biggest / most complex / biggest scope cues first, then use that project file as the template. I leave a few empty instrument slots in my template for those one-off / wild card instruments that you want to load as you go and use only in that cue. All built from the same template, which hopefully includes 80% of the sounds you're likely to use in the whole film. I wind up with 25-30 separate project files for an hour-long television episode and as many as 80 for a five-reel feature film. Any other method leads to pain and suffering. This way I can make an absolute mess in a single cue, or go crazy with the tempo maps without disturbing any other cues. It's same crap as with 29.97 DF timecode, but industry decided not to define 23.976 DF timecode.- New project file for every cue. In other words, when a time code was reached of 00:16:40:00, this does not mean the video has played for 16 real minutes and 40 real seconds (1000 seconds), but that it has actually played for exactly 16 minutes and 41 seconds (1001 seconds)." When working with other time sources, confusion can arise since a "second" in 23.976 fps time code notation is slightly longer than a real second, it is 1.001 (24 × 1 / (24000 / 1001)) seconds long. "Note that with 23.976 fps time code, the "second" counter is still increased after 24 frames, even though 24 frames add up to slightly more than a real second. About all TVs support now 24p, so no reason why broadcast can't switch to proper 30fps and 24fps.Ģ3.976p masters are nothing more than 24p masters played with slightly longer refresh than 1/24. Film can happily stay with 24p if they like it. ![]() In current reality there is absolutely no reason to have anything than proper integer fps of 60 or whatever. Those relicts from analog era are still heavily present today, even if they could be all replaced with new standard eg 60p. So answer to your question is- it depends on the app and what math people chose to use- precise counting (fractional frames) or 24fps based. It's a little bit grey area and different apps may behave differently. As far as I know there is no defined standard for drop frame TC for 23.976p, so you should use 24p timecode. There are also apps which have drop frame TC (like you have for 29.97). Some people use precise math for 23.976p (so 24000/1001 when counting frames) others use 24. 24p vs 23.976p can be the same or different depending on the app and used math behind it. ![]()
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