You should check this towards the end of the video where inconsistencies will be most obvious. If you receive a video with burned-in timecode (meaning it’s visible in the video itself), any number displayed should match the location number displayed in your DAW. If not, it will be displayed in red, indicating that you need to conform your session frame rate to match the imported video. If it matches the imported video it will be displayed in white.

If Pro Tools is used (the DAW of choice for Post-Production), the video track will display the session frame rate in the track header. The are some visual indicators that can identify and mitigate potential problems. Always verify the desired frame rate and conform all of your post production sessions appropriately. The key to eliminating any confusion is an open line of communication with the video editor. Or the content will need to be converted for US or European broadcast specs or for film distribution. Or the burned-in timecode, which is hopefully there, may not match the frame rate that is specified in the deliverables for whatever reason. While the frame rate of a bounced Quicktime movie can be retrieved by simply clicking on the open clip, the file you may have received was not necessary exported properly.

But when media gets passed on to Audio Post Production, it is essential that the audio engineer is informed of the frame rate for the project so they can keep all audio sessions in sync. There’s a ton of information for moving image makers on frame rates and the ultimate decision on what will be used lies with them. They effect the smoothness of the image and there are several standards tied to broadcast systems and media types. Frames Rates are a big deal in the film, video, animation and gaming worlds.

Pro tools 12 delay compensation