Synchronizing (Suggestion)

[Sergio Venturini]

Recently I had to import some audio exports I received from a sound design process, and had the urge to sync exactly my beep sounds and beep frames. I discovered I could move my audios less than a frame. Now, I'm in another project and I'm using the synchronize feature to sync audio and... I can't understand why It synchronizes to the frame as a minimum unit, and not by audio-same-rates 😞

Please Adobe, fix it! 

[Peru Bob]

Is the timecode showing Audio Units?

https://helpx.adobe.com/premiere-pro/using/timecode.html

[R Neil Haugen]

As Pere Bob alludes, if your Sequence is showing timecode as Framerate, you can't subdivide in less than one frame.

If your Sequence timecode is showing Audio units, you can subdivide down to the millisecond.

So the fix is simple, and there in the app already: set the timecode to show what you need. Which is on the menus for the timeline panel.

Neil

[Sergio Venturini]

I disagree, in terms of design, this is a mistake. Why would anyone like to have his audio mis-synced? I would see this as a limitation or an error.  When you switch to audio units and go back to frames, clips in beetween frames can coexist with no problem at all. I wouldn't see why synchonization automatically done in less than a frame units would be a problem.

[Peru Bob]

I wouldn't see why synchonization automatically done in less than a frame units would be a problem.

By @Sergio Venturini

Please post that here, where the Adobe engineers read all threads:
https://adobe-video.uservoice.com/forums/911233-premiere-pro

In the meantime...

Use Audio Units.

[R Neil Haugen]

Because the devs want to have the behavior clear and expected ... period. And this is not a separate timeline panel, one part in audio units, the other in frames. The whole Timeline must be operating at one setting.

If you are showing frames, you can only subdivide by frames.

If you are showing audio units, you can only divide by audio units.

And by changing the Timecode shown, you see which you are working with.

I would personally not agree with changing this behavior, I think it would lead to massive troubles.

But of course, as noted, you are most welcome to propose a change. We all think and work differently.

Neil

[Sergio Venturini]

With that criteria then, why when you work in audio units and go back to frames, clips still are in those middle places in between frames? In my opinion synchronization can only be done one way: accurate.  I understand your criteria but it doesn't focus in the user but the system.  

[Sergio Venturini]

Also, as a result in my diggint into XMLs packed inside prproj files, i found out projects work exclusively in audiounits, so the «switch» between them two is mere fiction. 

[Michael Grenadier]

gotta tell you, I've being doing this a long time and in 16mm, you can only adjust things by a single frame (a 24th of a second) and in 35mm, you have 4 perfs per frame.  The point I'm making is that feature films existed for many years and had to live within those limitations...    When you were synching up your picture to the audio, you used a slate and you had to use your judgement as to what looked best within those limitations.   We now have the ability to adjust things using audio units, but in many cases, no one will notice the differents.  And I'm guessing (and could talk to my audio guru to find out) that if you're working with an audio format the supports timecode, your beeps should be accurate..  

[Sergio Venturini]

I can agree with that. Unluckily, when you sync more than one source, a «modern» practice, this can lead to nasty & unwanted sounding problems.

[Michael Grenadier]

Good point and you're dead on about that.  Recently worked on a multicamera project and I like having access to all the audio (lavalier, shotguns and camera mics from both cameras) as I find sometimes adding a bit of the camera and shotgun mics helps give some sense of the room and is invaluable if the talent hits the lavalier (hard to imagine), and there were some phasing issues using the audio from multiple sources.  I'd also done some pretty tight audio edits fixing stumbles etc and the edits didn't match precisely with the different sources...    But was all fixable, but just means it's crucial to listen to your edited audio very closely (headphones are a must) and have the time and budget to make those fixes...   

[Michael Grenadier]

And back in the day, when you shot video multicamera, you genlocked all your cameras so they were exactly in synch.  Most modern cameras dont have that capability and people don't really think it's necessary.  "We can always fix it in post!"  and you can, but you again need the budget and the time...