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Trevor_Asq
Advisor
Trevor_Asq
Advisor
Activity
‎Dec 04, 2017
01:28 AM
1 Upvote
I tend to avoid multicam audio as it’s a bit of a rats nest but... are you best setting up your multicam sequence as a 3 output multichannel and route the 3 sources to the 3 outputs (probably with 3x mono tracks routed to individual sequence outputs) You *should* then be able to cut in from the source monitor (which is a perfectly normal multicam approach IMO) and which audio sources to cut in (I’d cut them all in and mute sections you don’t need) Try it - then try flattening to ensure it behaves as expected.
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‎Dec 03, 2017
10:59 AM
... And beware, if you have identically named files (think C0002.mxf) then they are generally overwritten in Project Manager copy processes...
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‎Dec 03, 2017
10:57 AM
So I think the only way you can do this is to somehow 'hide' the master files, so Project Manager only copies the _Proxy files....
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‎Dec 03, 2017
10:37 AM
I don't think that Project Manager will do this. But it would make a great feature request. I'm working on a similar workflow at the moment and am using FreeFileSync to clone the proxies, including the folder hierarchy, to a portable drive. In FreeFileSync I'm mirroring with */Proxies/* in the Filter section (I had PPro generate all proxies next to originals - it puts them in a 'Proxies' folder) so it only clones the Proxies. I do find I have to relink the proxies when starting the app (relink one and it finds them all), and the audio side of the clip shows red / no waveform, but is there. (The proxy relink is because it seems to hard wire the <FilePath> in the project file - you can search & replace within the project file to fix that.) Any ideas on why the audio is red & how to fix it so I can see waveforms gratefully received. So far the proxies have shown up fine and I've made edits etc - getting these cuts back into the master project hasn't proved without issues - it seems that if there is any difference between the master project clips and the roaming project clips then duplicate clips (and enclosing folder structures) are created when importing sequences. That difference can be as minor as having the file path stored in the project as "/Users/xxx...." rather than "Volumes/Hard Drive/Users/xxx..." can result in duplicate clip imports. I think that allowing 'write xmp files on import' may also be important for the avoidance of duplicate clips. Hope that helps a bit.
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‎Nov 30, 2017
01:23 PM
alexl45094283 wrote You’ll notice that some times creates the same folder structure, and it seems that is duplicating the clips, but if you go inside the bins, you’ll see that it’s only duplicating the folder structure and inside the bins there are the clips that were not included when you dragged the first sequence. I think you'll find that you have 'Automatically Hide Dependent Clips' enabled - if you try and delete those folders you'll be told that you will lose clips from the timeline.
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‎Nov 28, 2017
03:21 PM
Looks like some kind of debug data you are seeing. I'd advise contacting Adobe support direct, but I just spent 90 mins doing that.... I suspect your answer will come quicker here.
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‎Nov 28, 2017
03:19 PM
AIUI there's two types of metadata, which can (sometimes?) be linked. Clip metadata pertains to the clip in that project (so if you open the project on your friends computer you'll see it) File metadata resides in the file itself (or in a sidecar .xmp file if the file format doesn't allow it). How you create custom file metadata columns is beyond my pay grade...
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‎Nov 28, 2017
03:15 PM
That's 90 minutes of my life I won't get back... I'm so glad it was just a general question and not anything urgent needing fixing. Thanks to those in the forums kind enough to provide the real support around here (including the Adobe folks here).
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‎Nov 28, 2017
02:14 PM
It's worse than that - there are multiple instances of the same folder, for no apparent reason, and the folders are seemingly empty, but cannot be deleted without deleting clips (I think because there is a 'hide the master clips you didn't really want to see' option somewhere I haven't found yet - but it doesn't extend to folders)
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‎Nov 28, 2017
02:06 PM
Yes I'm just venturing into the world of shared projects here, prompted by Jim elsewhere & your post here. In cutting in from one shared project to another I see your example gets even worse when there are multiple sources in multiple folders - the folder structure has to come across too. I can 'hide' the mess that is created, by creating a smart bin with just the 'current cut' as the search term & just viewing that...
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‎Nov 28, 2017
01:42 PM
Really we want to be able to copy bins at finder level, like Avid 😉
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‎Nov 28, 2017
01:41 PM
There's mixed messages on Team Projects on the website.... " Team Projects is a hosted collaboration service that allows editors and motion graphics artists to work within Adobe Premiere Pro CC, After Effects CC, Adobe Prelude CC, and Adobe Media Encoder CC. This service is available for Creative Cloud enterprise customers and Creative Cloud customers with all Apps, Premiere Pro Single App, or After Effects Single app subscriptions. " AND "Team Projects available only for Creative Cloud for enterprise and Creative Cloud for teams."
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‎Nov 28, 2017
10:48 AM
If I give producer a copy of the project, whilst I continue working on it, how would you recommend I merge his selects sequence into the main project? (I think media browse & import gives duplicates) Currently (non-proxy) I get him to airdrop an xml to me and I relink.
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‎Nov 28, 2017
07:01 AM
(On 2017.1.2) Using PP to generate Proxies and have them be parked in Proxies folder next to originals. Works well, have been using it standalone for a while. However I can't get XML interchange working between projects (e.g. producer doing selects) and retain Proxy connection - indeed the XML import always generates duplicate media. Similarly if I try to 'export as Premiere Pro Project' and import that. Previously I haven't worried too much about duplicate clips but I would like to not have to reconnect proxies for the duplicates. Indeed I'd like to lose the duplicates altogether and have the XML link to the master clips in my project. I think I've just found the answer in Jarle's book: "Project Manager, Render and Replace, AAF, FCP XML, EDL, OMF, Modify Audio Channels, and Interpret Footage are not supported with a proxy workflow." is that fixed in 2018 anyone know?
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‎Nov 20, 2017
03:07 PM
Here's an example of the problem, apparent when using (Tube modelled, multiband, single band compressor, de-esser, dynamics processing, hard limiter) effects on a submix bus when 2 busses exist and are routed to (even if routing volume is -infinity). Also apparent in 2018.0 Dropbox - PROBLEM_2017.1.2.zip
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‎Nov 17, 2017
12:28 AM
TL;DR version - strange noises introduced when doing mix & stems outputs ———— Multichannel sequence with outputs fed by submixes (ie 1.Dialogue, 2.Effects, 3.Music & 4DME) so that Master outputs 1&2 = Full mix (from 4), 3&4 = Fx(from 2) etc NB the subs are fed direct from timeline tracks, rather than via sends Sub 1 has a compressor plug-in and Sub 4 a compressor as limiter Master bus has 2x PPMulators (for PPM & Loudness) I can edit, with clean audio, monitoring A1&2 but the other master tracks will display non existent levels (eg full modulation when track is silent). Monitoring those channels reveals some kind of high pitched distorted noise. This noise is apparent on export. A restart will temporarily cure, so my workaround has been to restart before export. This week I had a studio panel with 5 seperate mics which I kept on discrete timeline tracks, and wanted to output those clean on tracks 9-13. To achievethis I used more subs but fed them as sends from the timeline tracks The result was an unholy racket on outputs 1&2. So I abandoned ship on that plan. I will submit this as a bug but interested if anyone else is havi similar issues? I’m on 2017.0.2 Thanks
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‎Nov 14, 2017
11:23 PM
Put in a feature request at adobe.com/go/wish to have them engineer video only proxy mode
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‎Nov 14, 2017
07:32 AM
Hi Newbie idiot picture editor back again. Is there a way of splitting a bwf multitrack file to mono clips (i.e. so I can noise reduce the individual mics)? I'm hoping to do noise reduction, export a matching BWF and then relink my 'noisy' file in premiere to my 'cleaner' file from Audition. Thanks
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‎Nov 11, 2017
05:06 AM
I would clarify that what they are saying (LLRR) is what they mean, rather than really wanting LRLR (which is much easier to deliver AND more normal!) - sounds like they are possibly also asking for stems, without actually asking for them.
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‎Nov 11, 2017
04:17 AM
No problem - weird delivery requirement though, do they really want that? Or is your original mono full mix / m&e and they want dual mono of each - that would make sense.
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‎Nov 11, 2017
03:55 AM
2 Upvotes
So you basically have a stereo mix (LR) that you have to deliver as LLRR Create an adaptive submix and route Source 1 to output 1&2 and Source 2 to outputs 3&4 Route your source tracks via that submix (i.e. instead of master - drop down above fader) Sample project... Dropbox - StereoLR to LLRR.zip
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‎Nov 11, 2017
03:43 AM
AIUI Avid (Media Composer) & other NLEs don't store timecode (unless it is SMTPE on an audio track) it just has an offset, in much the same way as BWAV and, for a given frame rate and number of frames from start, it calculates a source timecode. Used to be a big issue when sony cameras were recording to tape and would have very small TC hiccups occasionally. Offline was done having digitised whole tapes, so conform could then be a few frames out by the time it was picking bits up from later in the tape. NLEs also deal with just audio, so they would have the same problem surely? So I'm being thick and not seeing how Audition cannot have a 'timecode' window that could show current timecode (and other metadata) for any/all tracks in a session or in waveform editor.
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‎Nov 11, 2017
02:45 AM
Thanks but the bwf inserted into session only works against the session master time, not to sync with an existing file in that timeline. I suppose, if you had field recorder material to match up against camera audio you can create a ‘sub-session’ with each camera audio clip, set session timecode to match and then add the bwf? Seems complicated to me. I‘m not an Audition power user at all, so I wouldn’t have the Audacity to put in a FR... Here’s another example of where source timecode is essential to me in an NLE. Interview edit is clipped at word ending. Client has timecoded transcription of interview. She gives me timecodes where offending word is said - I can quickly jump to and hear those alternatives. How do you usually deal with that scenario?
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‎Nov 11, 2017
02:29 AM
(caveat: I haven’t looked at your files) Have you checked sequence settings in CC18? Are there any effects added to the clips? Set your previews to QuickTime/ProRes and render a section - does that play OK? Another thing to try is to ‘create proxies’ for the master clips in CC18 - which may give you smooth playback for editing - and see if the exports are OK Or just transcode the master clips & see if they are OK.
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‎Nov 11, 2017
02:19 AM
The ingest/proxy workflow for Premiere is pretty new and relatively little used at this point IMO. (Relative to avid offline/online workflows). I think you should reach out to Adobe support because they should know the real world problems (also submit a bug report) and they may even have solutions. i présumé you can’t get the camera dept to generate unique names for clips to help you? You could see if there’s a way of adding unique ’reel numbers’ to your clips before creating the proxies, and if those reel numbers can be used for linking proxies. The ‘reel’ is something that has unique timecodes - so if shooting time of day give all clips from same canera on same date the same reel. I have this same issue (duplicated file names C0001 etc) in an Offline/Online project I work on. Workaround there is to assign a unique reel number to each master ‘tape’ before generating the proxies - which meant a bit of prep at ingest time but the conform (in Resolve) was very quick & had no issues with linking at all. The big advantage, as I see it, to the Adobe workflow is it speeds up editing, but you can set the previews and/or exports to be full resolution. (Avid have had this capability - dynamic link - for years, but kept it limited to users with Interplay)
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‎Nov 10, 2017
01:12 PM
2 Upvotes
Most likely the export is fine but when you import you are putting mono source channels in standard tracks and getting -3dB (Adobe centre pan compensation).
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‎Nov 09, 2017
03:41 PM
I deal with a lot of EVS clips - they have up to 16 channels of audio, usually arranged as stereo pairs (although they are ID'd as discrete mono on import). I tend to import / select all / Shift+G to adjust audio tracks - and make them stereo (halve the number of tracks it suggests as that is based on mono) and edit them into standard tracks. Less timeline real estate taken up and easier to edit / mix. I think the XFiles can be set to flag the files as stereo if they are Quicktime (but not MXF - which I guess is your wrapper if you are AVCI).
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‎Nov 09, 2017
03:26 PM
1 Upvote
Thanks all, big help pointing all that out. ryclark wrote Perhaps we need a feature request to be able to offset the start time in the Waveform view which could be quite useful on this sort of occasion. I think it would also be very useful in the multitrack view to be able to view timecode relationships between tracks - presumably if you have multiple field recordings at time of day it is easier to sync them up (or at least get them close) with timecode (or time offset mathematically calculated to represent timecode at your current frame rate). Or if someone sends you split tracks for a section of a mixed programme and you want to line them up by timecode I use this all the time in NLEs to check sync relationships - we can assign 'aux timecode' where time of day isn't right.
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‎Nov 08, 2017
05:31 PM
Almost certainly unrelated but I get a very similar effect in PPro with multitrack - I have submixes feeding the main mix out of 1&2 with the FX/DX/MX submixes feeding 3-8. i can see the issue on the metering in PPro (needle movement where there should be silence). my workaround is to quit & restart PPro before export. Usually fixes it. Seems to be less frequent now I’ve stopped using single & multiband compression on the master bus - use the tube version instead.
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