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Participant
October 18, 2012
Answered

Audio out of sync AFTER importing

  • October 18, 2012
  • 78 replies
  • 628920 views

Hello, how are you?

I've been searching for a solution for a while, but I can't seen to find any.

The thing is... I've been capturing some gameplay footage, with files that last an hour or even more.

When I watch the files in any player (Windows Media Player, VLC, Media Player Classic) they play fine, the audio and the video seems to be on sync and OK.

But after I import to Adobe Premiere, it just gets out of sync. Even when I watch in the Source Monitor, before dragging to the timeline.

It looks like there is a problem when conforming the audio.

But even the time duration is different from the original, there is some frames or even seconds of difference inside Premiere.

And this happens with different codecs, AVI (from FRAPS), H.264 (with AAC audio and MP3)...

I've tried cleaning the cache, deleting the software and reinstalling again, converting - everything.

Some are saying this is a recurrent bug on Adobe Premiere. Isn't there any fix or something that I could do?

It's really strange that the problems only occur AFTER importing. Outside of Premiere is fine, so there is no problem with the capture, right?

I would really appreciate if someone helps me. Thanks a lot!

PS: I have Adobe Premiere Pro CS6.

Intel Core i7

12 GB RAM

GeForce GTX 580

HD 2 TB 7200RPM

Correct answer caroline_edits

We've got a tutorial here on how to fix it when working with screen recorded footage! This helps with other non-camera formats too like Zoom recordings or gameplay footage. 

78 replies

Participant
February 22, 2018

Wow. Thank you so much. It has solved my problem

Aagazadron
Participant
January 26, 2018

After trying several of the solutions here to fix my QuickTime Player movie recording being out of sync after saving it, I had to choose Export > {resolution}... and Premiere Pro then reads it in just fine.

Participating Frequently
January 20, 2018

This issue still persists. Just record a video clip on an iPhone and try to work with it in Premiere. Adobe - how much disrespect can you have towards your customers? Pulling money out of people's pockets every month and can't even fix the most basic bugs for years?

Tanya199327
Participant
January 9, 2018

Thank you!!! This worked

Inspiring
December 12, 2017

They are working on fixing this problem!!!!!  Hooray!!!  I was tapped for some video, but I've got 4 jobs, 7 college courses, and some nonprofit orgs putting on the ritz for the season.  I just picked up a game for grabbing video from gameplay, and I'm going to send some in as soon as I can.  If you have any short 30s clips that have this problem, link me in over your cloud and let me link the others working on this!  It will go a long way toward fixing the issue.

I hope they don't just leave the problem in the video and process it out that way, like many other programs do.  I hope they at least put in something that notes it and asks you to choose your fix at the output stage.  For me, handbrake works, but I get great results from media encoder using frame blending for slower action shots.  There's a lot more responsibility to shoot well, and it doesn't clip the audio around it.  Audio is supremely important for my purposes.

With action shots, even more responsibility to shoot well.  If you can get preempt your equipment (know it well enough), and you shoot 4k for punching in to 1080, you can use optical flow.  Make sure you keep the background as steady as possible, and the subject across the center third box during motion and shake (don't follow them perfectly, but allow them to slowly creep ahead of you).  It will take a while, but the render should calculate what pixels change the most between dropped frames, copy the ones that move least, and then place the others accordingly.  For medium and straight line motion, this works pretty well.

Handbrake can calculate a decent frame, but it also adjusts audio when there are too many frames in a row to calculate clearly.  Intelligent, and better for higher action, not recital or performance videos that have a necessity for decent sound and smooth clarity.

Handbrake for video games is great, for skateboarding or thrill seeking.  But if you utilize another audio source, use media encoder, and drop 2 outputs in high compression: 1 with frame blending and another with optical flow.

Optical flow also works amazing with still backgrounds where the camera shakes but you have a solid background color across at least most of the frame.  Sky, or even when a camera is on a tripod and bumped hard enough to kick the EIS into action.

Of course, these are just stopgap until the solution comes through.

Participant
December 11, 2017

I love you for this, thank you!

Participant
November 28, 2017

Handbrake worked for me.

ADOBE: This really is unacceptable. Do you guys (at Adobe) know how many times I encoded my clip, stripped off the audio, tried to hand sync it.........? Come ON! As much as you guys update these apps, let's get an update for this. Its a major problem and a huge time waster and the fact that you have to go get some OTHER software to work around it is just crazy. A lot of companies lock a users system down and they can't go out to one of these seedy download sites and just grab Handbrake and install it. Thank goodness mine isn't one of them.

Participant
August 25, 2017

Converting in Handbrake works really well. Thanks for the great tip!

Inspiring
August 25, 2017

Handbrake is a great program for an input to output solution.  Just read up fellas.  It has a few caveats but with some practice and some study, you can get fast at it.  You can even make your own presets, much like most variants of the same type of software.

To recap:

VFR is an old format for carry, not delivery.  Talked to some old hat cameramen.  Cameras often had the problem when the electronic stabilizer was left on, prompting the creation of lens\sensor mount replacements that had a hardware stabilizer and an overscan version of the sensor that would avoid the problem.  Cheaper broadcast systems still had to deal with it, which lead to a standardized FLAGGED FRAME metadata, and signal boxes that would read it (there were boxes before but you had to match camera and signal box).  Most desktop playback software can read and adjust with it, even from older cameras, but most network services require you to purchase more resources from their service to handle it if you don't handle it yourself.  WIth movie production companies, they had to INGEST DAILIES, which meant sending to a preview machine, which would have an indicator where frames were dropped, and would double a previous frame for previewing.  From there, rough cuts were determined, and they were sent to an Ingest process that would either blend a frame or use a double frame.  For short drops, a double is ok.  For longer blends are better in between, but you really want to mix both in some instances.  Interlacing made this easier, but had jagged edges with faster subject motion, and you had to have a high frame rate, along with some edge blur to hide the aliasing.

Signal Input boxes that handle flagged frame do one of two things:

A. they introduce a lag of 5-120 frames (considering up to 60fps) to allow time to double previous or after frames for the missing ones

B. They hold the image in the output buffer and use a PULL on the output stream to grab the buffer, effectively grabbing the same frame twice (this is the passive version with no lag).

I've emailed a few manufactures in the medium area of the market.  All quote one or the other.  Both are considered b-cast ready.  These are better to use and with wifi connectors for HDMI, they are probably becoming more feasible for live shoots, or even camcorders, as they will output constant frame rates to a computer for recording.

Gamers have a real problem.  Most don't want to accept that there's a big difference in render overlay and sensor capture.  With a sensor, any stabilization can cause a drop here or there, but it's short and easy to mask with a simple AVS command feeding into any program; you can get started at the drop of a few lines of text (not perfect but close; and you can do a quick pass with AME outputting most with a match input, then setting your own frame rate and adding frame blending at the bottom checkbox; An hour of video at 4k took me about 15min to fix a lot of camera shake with a gaming style notebook of recent gen).

Most gamers want to use lesser setups and built in render capture running in their gfx renderer, but they don't realize that it's at the mercy of the game rendering.  IF the frame rate or action drop below the set frame rate in the render cap program, it will not fix the drop in frames, and they will have to run it through handbrake or AME; it will take a lot longer to fix, and handbrake gets choppy with subtle movements at the end of the drop.  AME gets blurry.  External capture is always best.  I like Elgato, but they also tell you to max out your system for constant frame rate, and if you want to stream, you also have to max it out to get the flagged frame to work properly.  This means you may need a second computer (actually, you should have 2 computers either way, I can run playback and FRAPS on a second netbook atom 1.2ghz and get 1080p at 30fps solid with only 2gb ram and xp os;  I can buy those on ebay for $50!!!  Spend 200 and you should be able to push fraps to 60p with 4-8gb ram, i5 and usb or usb3).

Elgato has a 60fps usb3 connector, and I'd hook it to any hdmi source (even another computer), but it requires maxed out resources with an i5 16gb and 2-4gb gfx card for 60p at high resolution.

Participant
June 6, 2017

old thread, but this may help some who are still having the issue:

How to Fix Out of Sync Imports in Adobe Premiere Pro (Mp4 video problems) - YouTube

nathanj10728329
Participating Frequently
May 3, 2017

Thanks for that answer! Helped me big time!