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Trevor_Asq
Advisor
Trevor_Asq
Advisor
Activity
Nov 08, 2017
05:12 PM
1 Upvote
TL;DR version: Can i view source timecode of wav file in Audition? — — — I’m a picture editor. But on short form / quick turnaround we end up finishing sound. With AdobeCC we get a reasonable arsenal within PremPro but some things have to go to Audition for clean up. Typically this is dialogue. Usually 2+ personal mics (interviewer/interviewees) that are balanced with room tone in gaps, routed to a dialogue bus with light compression, bit of eq to roll off highs & lows, brick wall limiter to protect true peak. Once the edit is complete there is usually limited time to clean up that dialogue further. Today, for example, that was the two jobs of trying to reduce the intermittent noise as one of the camera sliders did its thing in an interior interview and ’heal’ a siren behind an exterior interview. Currently I bypass the sub mix effects and export a mono wav of just the dialogue, open that wav in Audition and use noise print removal for the former and the heal brush for the latter. This works pretty well but I don’t see any way of displaying, or navigating with, the wav source timecode (which matches my sequence timecode and thus my notes). It’s not an insurmountable problem, but if there is a solution I’d be grateful to hear it. In addition - is there a way of ’storing’ noise prints for removal? (This week I’d have liked to sample a few of my room tones and stored them - then selectively applied them to different sections) And is there a better way to work? I realise I could process the whole interviews pre-edit, and have tried that approach, but I find it quicker/better to do it to finished project. Similarly I could send the finished timeline to Audition and work within a session, but that seems fiddly to me (there are many, many dialogue edits that would need denoising individually), plus more time-consuming. Sorry about how long my simple question took there - appreciate anyone who’s made it this far!!
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Nov 04, 2017
12:32 PM
There are no ‘stereo’ timeline tracks (standard is stereo, really). Be great if Adobe pan ales could be bypassed. Best approach, IMO, is to modify the EVS clip to be stereo and drop it into a stereo track - this should be unity. Otherwise keep as discreet mono and pan the timeline tracks left/right Here’s my audio notes, in case they’re any use: AUDIO TIMELINE TRACKS: Mono - Take mono (unity), stereo (centre pan -6dB) can be panned and MC (multichannel) assigned Standard - Take mono (centre pan -3dB), stereo (unity) can be balanced and MC assigned Adaptive - Take mono (centre pan, unity), stereo (unity), adaptive Allow INPUT mapping (e.g. Front Left to all 4 tracks) Allow OUTPUT mapping of that track (e.g. 1 to 1,5 &12, 2 to none) BEWARE have seen summing of previous material also NB - Adaptive tracks have the same number of channels as its sequence - can be mapped, balanced and MC assigned
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Oct 30, 2017
05:43 AM
1 Upvote
Here's a screen grab of the choices... Plus you can right click and switch cameras, my mistake. Be nice if they rearranged the multicam audio so you could name tracks and thus right click audio and choose different mics.
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Oct 29, 2017
03:27 PM
1 Upvote
There’s no cut or select next/previous camera that I know of. Excellent FR to submit (also right click to select cam angle works well in Avid) there is the choice of cutting to camera and ‘selecting’ the camera in PP. Multicam audio in PP is the devils work and should be approached with caution. I’ve yet to do a big entertainment edit with multiple audio ISO’s which would make me have to figure out the way to make it work. Currently I flatten all the iso mics into the main edit.
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Oct 28, 2017
03:00 AM
“First question, I hope you are not thinking of editing while recording are you?” This is done all the time - how do you think sports highlights or news edits are made? At times playing sequences to air as they are being edited & the feed is still being recorded. Usually using rather more robust & professional setups but I have tested it on one laptop, capturing, editing & playing out - using BM mini recorder/monitor & cheap capture/playout software. I tested that workflow with PP, Avid & FCPx. Maybe time to try again with Resolve.
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Oct 28, 2017
02:51 AM
Adobe need to work on colours. Should be many more choices plus some automatic ones. Avid, with many more years in this, have the option of showing/hiding different colours, some of which are automatic (frame rates, linked media, offline media) and others are manual (user applied colour, either at clip level or set in timeline). Sounds complicated, but powerful & v flexible. Everyone works in so many different ways that flexibility is key.
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Oct 15, 2017
04:10 PM
2 Upvotes
Oct 15, 2017
04:07 PM
You do see the actual timeline (it shows up with '(source monitor)' appended to name) - plus you can use the 'timeline' shortcut to toggle between the two timelines (assuming you only have those two open). 'Open Sequence in Timeline' is the shortcut Plus you can have your (pan)cake and eat it too... View the two timelines as a pancake - drag between the two if you want - or do it the avid way and insert / overwrite with patching from '(source monitor)' timeline to regular timeline. You might be better with the horizontal pancake arrangement to make more sense of the patching though
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Oct 15, 2017
03:17 PM
1 Upvote
Premiopolis wrote b) Avid offers the ability to see source-side timelines. [snip] The main value is in seeing source timelines in a quick and efficient way, all tied to patching. PPro achieve a similar, albeit different approach with pancake timelines. 'Open sequence in timeline' gives you pretty much the Avid experience, albeit with the Adobe 'source-side' patching.
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Oct 15, 2017
10:01 AM
3 Upvotes
This would be useful... although be good to be able to hide elements of the UI if not needed. Avid have the solo and mute buttons stacked (plus you Command+Click on Video monitor to solo that)
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Sep 24, 2017
11:36 PM
1 Upvote
+1 for the choice of export using proxies +1 to simplifying the preset choice/creation However I did manage to get my preset built in AME & copied to right location & proxy implementation is very good indeed. I use it for AVCIntra multicam sources & have my timeline set to render to my delivery codec (ProRes) so I get to edit with AVCI whilst proxies are created in background, then get a smoother edit once proxies are created, as edit gets closer to fine cut I render the sequence and see full res again. Very nice.
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Sep 21, 2017
02:50 PM
Thanks again - something up with my keyboard settings but if I switch to default it works
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Sep 20, 2017
09:33 AM
I get this probably once a day. PP hangs, beach ball spins, mouse will move beach ball but Cmd+tab etc do nothing, no way to force quit so have to hold power button in. Today it happened as I was alt-dragging to copy a timeline clip but that may not have been the cause. Anyone else experience this Thanks 2017.0.2 on iMac 5K running 10.11.3 and BM Ultrastudio 4K (BM is 10.9.7 I think)
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Sep 20, 2017
09:28 AM
Is there a way to play 'base layer only'? (I.e. Without any applied effects). I realise I can drop resolution but prefer to play at full resolution without dropping frames. Thanks
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Sep 20, 2017
09:25 AM
Just in case I'm missing a trick... if I have an edit selected in timeline I can 'nudge' by 1 frame or 'many'. Is there way of nudging by a number? (Eg + 5. to trim forward 5 seconds. Thanks
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Sep 18, 2017
12:48 AM
#1 search for .prproj files in last x days - this may help locate your project file #2 find out where your autosave is - these will show up in the search as ProjectName-XX.prproj - you want the most recent one if you can't find your original project file. My project backup strategy is to have a launchd process, running every few hours, that finds .prproj files that have been modified today and zips them up and stores them in Google Drive (thus they are backed up to cloud). It's neater on Avid cos it can just back up the modified bins, and just do the whole project once a day.
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Sep 10, 2017
02:39 PM
OK, have to create (in AME) an encoding preset (setting codec / size / burn ins etc) and then (also in AME) an ingest preset pointing at that encoding preset. Then export the ingest preset and import in the ingest settings (in PPro). The PPro custom proxy ingest settings are stored (on a mac) in ~/Documents/Adobe/Premiere Pro/11.0/Profile-user_name_here/Settings/Ingest Presets There are only certain codecs that will accomodate making proxies for multichannel audio source material (ProRes Proxy seems to work OK).
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Sep 07, 2017
11:58 PM
1 Upvote
It's a 'feature' in that it's part of the software (really it's a bug).
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Sep 07, 2017
11:57 PM
Thanks Jim, where are the proxy presets stored so appear in the ingest window drop down?
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Sep 06, 2017
03:28 AM
Is there a way of amending the _proxy presets within Premiere Pro, for example to make them truly 16x9 or to add a timecode burn-in? Thanks
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Sep 06, 2017
02:27 AM
I have a template sequence, that I duplicate for a new project (this is partly due to the fact that I cannot save presets of audio plug-ins). This template has 8 timeline tracks, that are NOT routed to the master output, instead routed to 1 of 3 submix busses (Dialogue, Effects, Music). Those 3 submix busses are routed to master outputs 1&2, and also the corresponding outputs to deliver stems (e.g. Dialogue routes to 1&2 and 5&6) On a recent export I noticed that track 6 was mute. On investigation it turns out that any of the sub-mix busses, if routed to outputs 5&6, are mute on 6. This is not a panning issue (as they route to track 2 correctly) Right clicking on the timeline in the bin and choosing 'modify | audio channels' shows 8 channels, all routed correctly. I'm stumped as to where else there is any control over the routing?
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Sep 03, 2017
12:53 PM
1 Upvote
Just pan track 5 left and 6 right? As it is you are mixing those two together
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Aug 31, 2017
09:52 PM
I too see this on iMac 5K Retina. Resizing window fixes for a while. PP2017.0.2 Its a feature
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Aug 27, 2017
02:15 AM
Found this on the Resolve forum, where he's trying to get BM to use some of his ideas. I haven't read all his spreadsheet or looked at more than a few mins of one of his YouTube videos but Im impressed with his ideas & the effort he has put into documenting them. Seemed easiest to just pop in a FR at adobe.com/go/wish as follows: ------ How would you like the feature to work? Take a considered look at the extensive work done by Taran here - https://docs.google.com/spreadsheets/d/1dVJb7kI_ZETLavrplfARgn9gL8HUpvkq6A0jCPxqA3w/edit#gid=1133868629 His YouTube channel explains a lot of the requests Maybe take soundings from your power users/ demo artists to prioritise but he has got a LOT of good ideas in there. I don't feel that he's used Avid as quite a few of them are very similar to Avid features but with different terminology Why is this feature important to you? Improve functionality, stay ahead of competition
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Aug 17, 2017
09:52 PM
And Re: The soundness of logic of sound and the multiplicities of multicam
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Aug 17, 2017
09:50 PM
Sorry I'm all Avid at the moment
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Aug 17, 2017
09:47 PM
Read ETorr threads eg Is it possible to change the "Sequence Settings" of a Multi-Cam sequence after-the-fact?
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Aug 17, 2017
09:46 PM
i think I mentioned this elsewhere: BEWARE the behaviour if you 'flatten' the multicam audio (e.g. for turnover). Do please report back on anything else you find, it's useful!
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Aug 17, 2017
09:39 PM
I use keyboard shortcuts but the clicking in monitor workflow is different, I think, if timeline is stationery (switches cams) versus playing (cuts cams). Manual or 'Cool stuff in Premiere Pro' book may help here.
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