Good question. Last time I've submitted to Netflix, it was 24, but it goes through a third party "packaging" company before going to Netflix. So some of them might reconvert to 23.976 even when we submit 24 fps masters…
Yes, sound needs to be recorded with proper metadata, otherwise the sync process with the image is going to be pretty tedious. We could just record with a "dumb" audio recorder that doesn't write timecode and fps…
There are algorithms that are better than others. For example, ffmpeg's pitch correction using "atempo" filter (WSOLA) is average and might present artifacts depending on source audio. ZTX (was Dirac) is another…
This post was 2016. Six years later, this is no longer true, at least here in my area (Montréal). At my work in a post-production company, we finish around 8-10 long form fiction movies a year and a bigger number of…
Good question. Last time I've submitted to Netflix, it was 24, but it goes through a third party "packaging" company before going to Netflix. So some of them might reconvert to 23.976 even when we submit 24 fps masters…
Yes, sound needs to be recorded with proper metadata, otherwise the sync process with the image is going to be pretty tedious. We could just record with a "dumb" audio recorder that doesn't write timecode and fps…
There are algorithms that are better than others. For example, ffmpeg's pitch correction using "atempo" filter (WSOLA) is average and might present artifacts depending on source audio. ZTX (was Dirac) is another…
This post was 2016. Six years later, this is no longer true, at least here in my area (Montréal). At my work in a post-production company, we finish around 8-10 long form fiction movies a year and a bigger number of…