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In the old days, they used a clapper board to sync the audio & the film at the start of each take. Master clocks are usually super-accurate (some are atomic), but I'd say it's more important to keep everything on the same clock. That keeps everything synchronized down to the sample.
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Pros use a master clock (along with hardware with a master-clock input). Your average-everyday quartz crystal is rated at around 50 parts-per-million accuracy.
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Every device has its own clock (oscillator) and no two clocks are identical. What in the first place goes wrong that I get out of sync?That's pretty close. The difference would be in a 90minutes audio for approx 200ms. Use it!īut here is the problem: the track is always around 1.000033 times slower as the video.
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Sample rate reductions to 44.1k for the portable formats turn out just fine as well (better than recording at 48k and reducing to 44.1k). 24/96 is pretty much the standard for high def music and fully supported by video as well. Sample rate will be entirely unrelated to this issue but FYI moving forward: record at 48k if you know the end product will be video just to avoid the sample rate conversion.īetter: Record everything at 96k. For small adjustments this would have the least artifacts and the small change (assuming it's just a small adjustment) would not be noticed. Having said that, if you DO decide to alter the audio to match the incorrect speed video, my first choice would be pitch and time linked (classic pitch correction like analog equipment pitch control). I would not alter the audio as a workaround. In this case, I would send the video back to the video editor for running at the wrong speed (due to some mistake on their end). Has the audio been edited/pitch shifted/other? If not, then we can point our finger at the video. In that case, one of them has been altered! Your comment that they go out of sync certainly suggests so. was the video recorded with the audio and of the same event (like a concert recording)?