Quote:
Originally Posted by
drBill
โก๏ธ
Compared to the old days of getting your 24 track 2" machine locked, then resolved to black burst, with the correct TC to your video deck which also had to be locked and resolved to your synchronizers...the difference in difficulty nowadays is like comparing 1st grade to a PHD.
It's laziness and ignorance. No other excuse is viable.
Borderline necroing the thread I am... sorry..
I think there's a bit more nuance if we're talking about post in general and lip-sync once we consume it at home.
One consideration is of course either laziness or lack of knowledge or care, although I think that's maybe a bit unfair.
The other is that we don't actually know exactly how all devices are set up, and that's a problem. It used to be that when I laid back a post mix it was to tape, all synced up. And if it was a big network there'd be a QC guy with headphones on plugged into the actual tape deck checking for errors right off the playback head so to speak. But these days there's no telling what setup any given person has. The assistant video editor, the main editor, I, the online editor, the production company producers screening the mix and the online, the network producers, QC department... we don't all have the same gear and all of those entities aren't always involved.
So imagine that sync is different for all of us with no QC department. Then you can have an error pretty easily.
But even with a QC department involved if it has a properly set up system you can have a problem if the tolerance that is allowed adds up to too much once the consumer system is involved.
Suppose QC allows for a maximum 1.5 frame offset delaying audio. Then suppose your playback system adds 2 frames. Now we're off by 3.5 frames which QC would have flagged. And we're assuming of course that the distribution is correct.
So there's more nuance I think.