A

Anonymous

Answered

iPhone 4s Video - Serious Sync Issues Eliminate Premiere as a tool

Forum|Forum|14 years ago
December 8, 2011
21 replies
167975 views

I was excited to see how great the video is from the iPhone 4s. I have taken one hour 1080P videos of lectures that look great. However, when pulled into Premiere (CS5), the sound goes out of sync to the point that it is unusable after about seven minutes. I have checked the original file (.MOV) using QT - it plays perfectly. Indeed, I can trim and split the file using QT and I know that creating a bunch of small videos to link in Premiere would be a solution of sorts.

What is the deal? No ability by Adobe to handle MOV files and the screwy indexing they use? Disappointing.

Or have I missed something? The sync problem is apparent in the source window - before I add to sequence. Any ideas? Has anyone tried this with an iPhone 4S video beyond 10 minutes?

Brad

This topic has been closed for replies.

Correct answer martinalejandrogg

1- Download Handbrake.

2- Change from Variable Frame Rate to Constant Frame Rate.

3- Import to PPro.

Cheers.

DoctorLAB

Participant

I use Canon DSLRs (5D MkII & 5D Sr) that record video in MOV format. In Premiere Elements it accepts MOV format fine, but in PPro my audio track was not in sync and about played in about 1/4 the time compared to the video.
Easy fix was to change the MOV suffix to MPG on the file and open in PPro - then it worked just fine and in sync.
Sure would be nice if PPro would just accept MOV like the Elements version.

John T Smith

Community Expert

Both of my Canon cameras (Canon SX510 HS and Canon ELPH 500 HS) work just fine with CS6

You do need to remember that CS6 is from 2012 and it is no longer being updated for new cameras OR computer operating systems

It's great that what you have works with your computer, but a file from your camera seems to need an extra step

DoctorLAB

Participant

I am running Premiere CS 5.5 version and obtained a purchase copy of it.

Mostly use Photoshop for my still photography but wanted to have a step up

from Premiere Elements

that does accept MOV format.

Take Care

LAB

[Personal information removed by moderator.]

L

lesliem29034515

Participant

On Handbrake, where to you make that change. I have scoured the program and cannot seem to find it

Peru Bob

Community Expert

lesliem29034515 wrote
On Handbrake, where to you make that change.

Here is a tutorial:

https://www.youtube.com/watch?v=sSVarfrhr1M

andrea2543

Participant

right on the money thank you!

A

antonb43367473

Participant

that just takes to long dude

R

ravenise

Inspiring

None of the work around's here worked for me.

PluralEyes was the closest thing I have found to automating a solution. Pluraleyes can automatically sync up potentially hundreds of audio and video tracks for you and export them into Premiere. However it doesn't quite work with VFR as of yet. After demuxing and syncing audio/video tracks, it made the audio file slightly longer than the video, and it remained out of sync all the way through.

Thank you Adobe staff for being reasonable and open minded to all possibilities. One addition to the program will not undermine the rest of its functionality and features. This has been an important feature request by many users for years now. Adobe's VFR user base continues burning quality, time, and resources working with other products. I see its cross platform, so AE shares the same issue. So I imagine it will require a slight revamping of the suite. Where there is a vision there is always a way. An additional VFR interpreting timebase/sequence module that can create (very basic) regenerated time/frame sequenced maps, which can be layered into CFR timeline sequences is just one viable solution. A frameserver module within Premiere could do this as well. All video players playback the footage in sync, simply and quickly without issue. It can playback in Adobe just as fast and easily. Just gotta think outside the frame TMPGEnc Xpress allows for cutting and editing VFR footage frame by frame... though encode times are quadruple that of Premiere, FFmpeg and similar software, and cutting/editing features are lacking, as of the licence I own, 4.7.8.309. Still, they did it, and it works smoothly and quickly. Vegas Pro is able to sync and edit the footage properly as well, though it is lacking in features and performance from my experience. There is no reason that Adobe staff cannot find a way should they wish to.

In both the Iphone4s and the earlier Iphone4 .MOV footage has resulted in major sync issues in Adobe Premiere & After Effects. In Premiere, both the Adobe source monitor and sequence playback audio/video are out of sync. Depending upon the length of the videos, they can becomes tens of seconds out of sync near the end of the sequence. Starting at the beginning and moving on through the end, it is required one cut and shorten the audio or video into many synced segments. Its time consuming and leaves many short gaps in video/audio, and in some cases its impossible to align them properly without working frame by frame as the framerate continually fluctuates.

My sequences were automatically generated from the clip. I've tried custom FPS adjustments. I have tried renaming the file extension to MPG. I have tried saving a reference file in Quicktime. None of these rectify the sync issues I had within Premiere Pro and After Effects. These videos play flawlessly in every player I throat at them, all except for Premieres source monitor.

Until a fix has been implemented, all yee faithful Adobe users out there... a great alternative to handbreak is FFmpeg's front-end GUI "FFe." It works very well and efficiently for transcoding VFR footage. Just be sure to rename the output file with extension .mp4 otherwise it will output MKV which isn't supported by Premiere. FFa will auto-rotate your Iphone video vertically if you recorded the video at an angle. Something handbreak will not do without input commands. I'm not sure about upside-down footage.

For Rotation with Handbreak, enter the following command into the ‘Extra Options’ under video settings (with the comma)

To rotate: , --rotate=#

1 : x flip

2 : y flip

3 : 180 degrees rotate (also the DEFAULT)

4 : 90 degrees rotate (clockwise)

5 : 90 degrees rotate + y flip

6 : 270 degrees rotate + y flip

7 : 270 degrees rotate (or 90 anticlockwise)

MediaInfo:

Format : MPEG-4

Format profile : QuickTime

Codec ID : qt 0000.00 (qt )

File size : 1.80 GiB

Duration : 1h 12mn

Overall bit rate : 3 577 Kbps

Recorded date : 2016-10-05T14:35:47-0700

Encoded date : UTC 2016-10-05 21:35:47

Tagged date : UTC 2016-10-05 21:36:00

Writing application : 7.1.2

Writing library : Apple QuickTime

Model : iPhone 4

Make : Apple

com.apple.quicktime.make : Apple

com.apple.quicktime.creatio : 2016-10-05T14:35:47-0700

com.apple.quicktime.softwar : 7.1.2

com.apple.quicktime.model : iPhone 4

Video

ID : 1

Format : AVC

Format/Info : Advanced Video Codec

Format profile : Baseline@L3

Format settings, CABAC : No

Format settings, ReFrames : 1 frame

Format settings, GOP : M=1, N=30

Codec ID : avc1

Codec ID/Info : Advanced Video Coding

Duration : 1h 12mn

Source duration : 1h 12mn

Bit rate : 3 506 Kbps

Width : 640 pixels

Height : 480 pixels

Display aspect ratio : 4:3

Rotation : 90°

Frame rate mode : Variable

Frame rate : 29.884 fps

Minimum frame rate : 12.000 fps

Maximum frame rate : 31.579 fps

Color space : YUV

Chroma subsampling : 4:2:0

Bit depth : 8 bits

Scan type : Progressive

Bits/(Pixel*Frame) : 0.382

Stream size : 1.77 GiB (98%)

Source stream size : 1.77 GiB (98%)

Title : Core Media Video

Encoded date : UTC 2016-10-05 21:35:47

Tagged date : UTC 2016-10-05 21:36:00

Color range : Limited

Color primaries : BT.601 NTSC

Transfer characteristics : BT.709

Matrix coefficients : BT.601

Audio

ID : 2

Format : AAC

Format/Info : Advanced Audio Codec

Format profile : LC

Codec ID : 40

Duration : 1h 12mn

Source duration : 1h 12mn

Bit rate mode : Constant

Bit rate : 64.0 Kbps

Channel(s) : 1 channel

Channel positions : Front: C

Sampling rate : 44.1 KHz

Frame rate : 43.066 fps (1024 spf)

Compression mode : Lossy

Stream size : 33.1 MiB (2%)

Source stream size : 33.1 MiB (2%)

Title : Core Media Audio

Encoded date : UTC 2016-10-05 21:35:47

Tagged date : UTC 2016-10-05 21:36:00

H

HarleyTDavis

Inspiring

None of the "workarounds" worked for you? Did you INGEST the video into your computer or just try to use the phone\pad version of the software? If not, you were trying to do it all without doing it RIGHT. You are missing video frames that are necessary for the audio to line up. You need to have those rebuilt.

It's obvious that you had some really bad shaking going on or you had horrible app overload. Make sure you turn off all your apps when you shoot with an iphone or ipad and don't move it around (use a tripod or steadycam rig) to avoid this problem in the future. It can really strain the EIS that the device uses to calculate when and how many frames drop. Your video has a minimum frame rate of 12!!! Horrible!! You were really shaking the camera or too many apps were running. It tried to compensate by speeding up the rate to more than 30fps!!! REALLY bad shaking...

You need to INGEST the video into a new format, using quicktime or handbrake. You can also use AME, but you'll have to change the output format from MP4 to another container or primary format. QT is easy and with the right GUI on handbrake, you won't get flustered about the settings.

Steps for AME:

1. You'll have to change the output video bit rate to variable, but to a different value (Usually lower than before, but sometimes higher works), and your audio to variable rate. Make sure your video frame rate matches the 29.97 value (an NTSC version of 30fps I based on what is shown by the current data you show above).

2. Then make sure you turn on FRAME BLENDING to match the frame rate to a fixed value (it's at the bottom of the list of data values for the video in a drop down menu now, frame rate matching; used to be just a checkbox). This will "Guess" the frames (by blending in useable consecutive frames in close proximity for short frame rate drops or simply dupelicating them in longer strings of dropped frames) in most instances, and try to get the number of frames to match the time of the video for the rate (29.97fps is what your audio is aligned for, and audio is at a constant rate, so you need to match the video rate to the audio).

If you still have a problem, then you might try COMPRESSOR from Apple. It will fake the frames by repeating them if necessary; AME will also but can handle only so much damage. Compressor doesn't care how damaged it is, it'll output useable video, and you'll just see some still frames or frozen frame style shots. You can clip around those if they are short enough.

PLURAL EYES is not for VFR Sync problems!!!! It's for aligning different video clips based on the audio tracks that go with them. If you shoot an event with a team, and then need to have all the clips align where they overlap, it can take a long time to align each by hand. It takes less time to align with plural eyes. Once they are aligned, you can put transitions between the video tracks. Plural eyes uses GOOD AUDIO tracks to align video tracks, it will not correct the audio sync for a single video. You have to have the frames rebuilt.

INGEST YOUR VIDEO.

Premiere targets PROFESSIONAL EDITORS who will ALWAYS INGEST video, if their work is truly professional caliber. For those who are in fast paced workflows, they hire PROFESSIONAL CINEMATOGRAPHERS who don't give a rats butt about exactly which model of equipment they use, and will follow the instructions they are given about operating it (turning off the vfr). Pro shooters are usually more steadyhanded, but will also tend to use steadycam rigs and tripods. Faster frame rates can make EIS or OIS unnecessary, and action shooters will use 120fps to shoot, then run it through a deck that stabilizes the video feed and outputs 24-60fps (these are custom computers that will use the framestream in a frameserver setup, then apply a quick stabilization routine, and feed it back out at an adjusted rate, to another unit that stores the video or broadcasts it). IF you don't have the equipment for 120fps and off camera stabilization, use a tripod or steadycam. IF you can't because of the rules, use a steady surface to stabilize yourself and don't move much. "But how do I get those action shots with my iphone?" Too much action going on for close shots? Keep getting frame drop when panning? Move back and pan slower. It should take you 20 to 30 seconds to pan a 180 degree shot if you don't want frame drop from an iphone. Slightly faster panning will drop frames. Plant your feet shoulder width, one foot slightly in front of the other--the foot in the direction of the pan should be back, the other forward--and only turn your waist.

With faster frame rates in action cameras, you can use effects from a computer after the shooting to steady the shots, only losing a few pixels, so keep your stabilization in camera set to off. At 60fps, you can drop down to 30 or 24fps on your output and it won't hurt the video. At 120, you can drop to 60, 30, or 24 depending on how smooth you want your motion and how sharp you want it to feel. Too sharp and it'll feel too punchy or fatigue the eye too much. How to do it? Split the video where the shake starts and stops, and place each section in its own sequence, stabilizing the sections that need it in their own sequence. Then nest those in a 30 or 24p sequence for outputting. You will get a smooth looking result that's consistent and beautiful. If you're at 30p already, drop to 24.

If you are a CONTENT CREATOR, the two jobs above don't apply. You simply shoot and slap stuff together. You may have artistic sense, but you have little technical professionalism; you should hire an editor, and purchase the gear they need. You can still be a content creator, and they'll make sure the details are handled. Most true professionals obsess over the technical details so that they don't have to work so hard fixing problems, and they can focus on their art. Some hire others to obsess over technical details. I've heard all kinds of titles from people on these forums, but few actually imply any degree of technical knowledge or understanding. "Videographer" is a hobbyist, not a professional. It means they only grab a camera, press record then complain about problems that arise because they have no understanding of the technology they're using to make their "art". What they've made is a useless pile of data, and a total @ss of themselves. A cinematographer is a shooter, plain and simple. Some are also editors. Editors aren't necessarily technically proficient. A PROFESSIONAL EDITOR is accredited with both collegiate and experiencial understanding. An Editor is just somebody who might know one or two pieces of software for cutting the files into art. Big difference in the two. If you call yourself a professional and are not one, be warned. YOU CAN BE SUED FOR ENORMOUS AMOUNTS FOR FALSE REPRESENTATION, BREACH OF CONTRACT, among other add on charges, and YOU WILL LOSE!! I just met a student who was sued when he didn't cut the mustard with a professional project, and he had to declare bankruptcy in order to get out from under it. It was a $3000 job, but the lack of professional aptitude kept him from meeting the deadline, and the client was out over $40000. He was sued for the damages by false representation and breach of contract, along with emotional distress. Since he wasn't a pro, and had no insurance on his work (or lack of it), he was on the hook for the whole nut. He lost and two months later began his declaration of bankruptcy. Be careful what you call yourself, and make sure you're not taking on jobs that require understanding you do not have. You can get around some issues, but you'll lose time with unprofessional thinking. Pros are paid for quality, speed, and honesty.

lennym85716732

Participant

Is there any shorter way to do that? I have huge files, like 40 min long gameplays, and the audio is just screwed up

Kevin-Monahan

Community Manager

Hi Lenny M,

There's no real solution for game play. In most every instance, you have to transcode.

Thanks,

Kevin

Kevin Monahan - Sr. Community and Engagement Strategist – Adobe Pro Video and Audio

H

HarleyTDavis

Inspiring

no shorter way than this:

run through handbrake with constant Frame rate, Not const bit rate; or

through adobe media encoder with frame blending on and dont mess with

bitrate ---all before bringing them into premiere. media encoder can

process a whole queue, and get a smaller, faster file to use for initial

edits, in parallel (process one file into two files, one a big version, one

small,at the same time, extends render time slightly).

its called ingestion. its the first part of the process in every class i've

taken for a reason. it takes out any guesswork and oops factors. i do it

every time, creating a preset for different cameras and temp presets for

unknowns, matching source and adding frame blends then doing a parallel

drop for a small file size at half to a quarter the bitrate (sized down to

close to standard def) for edits. sound i render out cd quality in 44.1k

compressed in the smaller file, but leave it native in the larger, recoding

the sound lets it all playback fast with decent quality and when i relink i

get a better size, not necessarily better quality in output.

every drop in size (ie 1920x1080 down to 1280x720) results in half as much

data in the frame, so dropping bitrate by half keeps similar quality at a

smaller and faster editing size with the same # of frames to work on. this

allows you to drop in basic edits faster and render q fewer previews. for

your more precise and graphics intense edits, use after effects or render

previews. when you relink to large file, do it this way:

new sequence, set to new size, copy video clips etc from old sequence to

new~~-do not nest, it doesnt work~~do not alter settings of seq when asked,

relink. if you marked your own adjustments for position etc and noted them,

you will move the same amount to twice that in pixel count, but the actual

numbers are based on the new size. i use a notepad and drop markers. in

cs6, ive duped a sequence deleted all from dupe, drop in a large video,

changed seq size(ok), coppied all over from original, deleted large clip

and relinked, then go by markers and adjust the edits as necessary. its all

part of the show. since major fx can be handled in after effects, sometimes

i use it to handle fx, even panzoom, then only relink after effects comps.

i then save a new ae file with the relink, and save one with the old. if i

have time i add old comps to smaller sequence in video track 2, delete

track 1 and have 2 separated sequences with different size but same effects.

pick a method based on your knowledge, your clients needs, your systems,

your workflow--in that order and youll be gold.

i know it seems like a lot, but as you get faster at it and know your

system, itll seem like nothing. my main system is slow enough that i render

elsewhere, otherwise 40 min at 1080p 29.97 is up to 2 days of rendering! so

i use more powerful machines, render and then check my work one last time,

before creating another file for delivery. Render farming can help, and so

can video card acceleration. ram too. hdd speed. RAID storage. any speed

you can build in at the start, check to see if comparable products at

cheaper price, and decide best course. sometimes, less ram at the start

means more afterward when price is the hinge. sometimes a pc has better

acceleration (CUDA WORKS FOR MOST FX ON WINDOWS; MAC DRIVERS DO NOT ALLOW

IT ANYMORE).

On Wed, Jun 8, 2016 at 9:58 AM Kevin-Monahan <forums_noreply@adobe.com>

G

gaw57454535

Participant

You can sync iPhone videos to iCloud:

Turn on iCloud Backup

Choose iCloud Backup.

Enter your Apple ID and password.

Sync iPhone 4S Videos to Computer

Kevin-Monahan

Community Manager

when pulled into Premiere (CS5), the sound goes out of sync to the point that it is unusable after about seven minutes.

What is the deal? No ability by Adobe to handle MOV files and the screwy indexing they use? Disappointing.

Or have I missed something? The sync problem is apparent in the source window - before I add to sequence. Any ideas? Has anyone tried this with an iPhone 4S video beyond 10 minutes?

The iPhone Camera App shoots in two modes:

Variable frame rate: In low light situations, the iPhone automatically creates variable frame rate video (not supported in Premiere Pro).
Constant frame rate: In well lit and daylight situations, the iPhone creates constant frame rate video (supported in Premiere Pro)

You could try another App, which always shoots in constant frame rate mode (or at least allows you the option to do so), or use the Camera App only in well lit or daylight situations.

Thanks,

Kevin

Kevin Monahan - Sr. Community and Engagement Strategist – Adobe Pro Video and Audio

martinalejandroggCorrect answer

Participant

1- Download Handbrake.

2- Change from Variable Frame Rate to Constant Frame Rate.

3- Import to PPro.

Cheers.

K

K8_1984

Participant

Worked perfectly!

H

HarleyTDavis

Inspiring

Run it through AE and set the CFR and CBR. That's constant frames and constant bit rates.

Then make sure you output an uncompressed video (or a proxy style uncompressed video), for use with premiere. Also, make sure your sequence audio matches your input audio or greater (IE, don't drop 96k to 48k or 48k to 44.1k).

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