By ‘replace’ do you mean you relinked the timeline clip to a new file? I did see this behaviour when I was trying to figure out a podcast workflow that required ‘replacing’ raw audio recordings from 2 seperate microphones (‘rawA’ & ‘rawB’) with 2 equivalent files that had been balanced & sweetened (‘sweetA‘ & ‘sweetB’). Both raw clips were relinked to the same sweetened track (‘SweetA’). I’m used to Premiere Pro/NLE relinking & Audition seems to be different. Workaround was to replace the raw files at macOS finder level with the sweetened files (ie keeping the same ‘raw’ name). One foible we found was that, having successfully replaced raw dialogue with sweetened & it all sounding good on playback in Audition, our exports had this dialogue only on left channel.  Tracked it down to a bug relating to replacing raw mono recordings with ‘stereo’ (dual mono) sweetened files. (Audition defaults to creating stereo timeline tracks & exporting stereo mix downs by default, yet our raw recordings were mono.). Fix there was to ensure that mono recordings always go in mono timeline tracks (which makes sense!) Apologies if all that is not relevant to your problem ... View more

SteveG(AudioMasters)  wrote The idea is that if you are actually editing sound takes for your video, you do that in the video editor. That's where all the time-coded views are, and therefore that's the sensible place to do this. The purpose of adding Audition to the mix at present isn't for editing to take place in it, but for what always used to be known as 'sweetening' to take place. Thanks. I've come to this as I've been overseeing the technical side of a podcast production. We record and then simultaneously sweeten the raw recording and edit for content (sweetener does not trim, editor does not worry about levels/sound quality as his files are replaced). We did try doing the editorial in Premiere Pro - but found it much more cumbersome for actually editing audio (responsiveness of timeline, size & clarity of waveforms etc). Strictly speaking this approach does not 'require' timecode. But when the editor does spot an issue (e.g. profanity at XX:XX) it would be a quicker & more exact process to just send over a source timecode as reference, rather than everyone translate a 'xx from start of original recording' time. PS I've actually been editing & finishing sound as a video editor for a long time (pre NLE/DAW) so my judgment is obviously clouded by that! We used to have to fight Avid's fear that ProTools would be cannibalised if they ported functionality to Media Composer, now there is quite a bit that has made it across - but ProTools is still far superior for finishing audio. ... View more

Find clips in multitrack timeline – Adobe video & audio apps - Vote! ... View more

SteveG(AudioMasters)  wrote Trevor_Asq   wrote I realise that music editing may have no need for this but if you are working in docs or with spoken word or any kind of reality matching timecodes between tracks or to video is kind of essential. Isn't that what Premiere's for? Audition is an audio editor, and the round-trip ideology doesn't involve dealing with clips in it like that at all. Thanks for the thoughts. So how do you guys deal with swapping out production mix tracks for the iso mics? eg similar to ProTools field recorder workflow. And what if you are dealing with VOs that were recorded with time of day & logged & producer gives you timecodes for various takes? Or if you are trying to replace a word and have a timecodes transcript so know where all the alternatives might be? Its only metadata, no-one would have to look at it! ... View more

increase/decrease Clip Gain by keycommand (external controller) – Adobe video & audio apps - vote for this? ... View more

Thanks Steve but that a. only displays if video track is assigned & has media attached b. only shows 'session' timecode or 'media' timecode - the latter displays an offset to session timecode, rather than source timecode or clip counter from the video clip - so I'm not sure what use it is at all. c. does not show any audio source timecode info at all The grab was from one audio track in ProTools and shows the Source In/Out for the clips (i.e. you can see that the clips are butt joined as the out of the first clip matches the in of the second clip. Here's a bit of a bigger screen grab from stuff recorded time of day: There's actually a bunch more shoot metadata that PT can display that is useful : I realise that music editing may have no need for this but if you are working in docs or with spoken word or any kind of reality matching timecodes between tracks or to video is kind of essential. The avid (media composer) timecode window is also a great way of checking timecode sync at any given point (also displays aux timecodes, durations, clip names - very versatile): ... View more

Batch fades still missing in Audition I believe? https://adobe-video.uservoice.com/forums/911314-audition/suggestions/36259900-batch-fades-in-audition ... View more

Sorry, I think I wasn’t clear - I want to reveal the selected file in the multitrack timeline (or a find / find next dialogue in the timeline). It came up as I found a bunch of _merged files on an inherited session & I wanted to know where they were in the timeline. ... View more

LokiTM  wrote In the multitrack things like breath sounds are massively amplified. I am using the podcast preset. Is this a side effect of the speech volume leveler? Most likely, yes. Bypass effects to check. You are likely to need to bring up overall volume to compete with/match other podcasts, especially if there are adverts/interstitials around yours. You are likely to need to level the volume of speech across the recording as talent moves & delivery alters. A mixture of manual editing, mild compression & brickwall likely to be needed. Broadcast standard levels are -23/-24 LU, podcasts seem to be -16 LU. There is a Loudness Radar plug-in under ‘special’ - apply to the master bus to see it (also Orban have an app that will analyse a file & report - loads of other Loudness metering options). You may find it more cost effective & timely to farm this work out to a professional. ... View more

Trevor_Asq  wrote No panning is needed as you’ve created a ‘direct out’ sequence. Sorry, incorrect - you have to pan left/right odd/even tracks as output router only allows for routing to a pair. https://drive.google.com/open?id=1ISLGy9CWGq_iCKf-lwKlcADFBiWHfGrB is a sample project with some tone idents. https://drive.google.com/open?id=12CAE35Q_JJE90uc3I8OPnW1IA2J2HtkD​ - is an export preset to try (goes in ~/Documents/Adobe/Media Encoder/13.0/Presets ... View more

Dolby doesn’t come into what you describe. Create a multichannel sequence, 8 channels, with timeline track 1 routed to output 1 through track 8 routed to output 8. (Save as a preset!) No panning is needed as you’ve created a ‘direct out’ sequence. Export audio setting needs to be NOT stereo but outputs 1-8. (In audio tab of export) - save this as a preset too. Best to create a short test with track idents first & reimport to check. Beware that there are issues with multichannel sequences. One is that plug-ins on master bus ONLY affect audio output 1 (eg Loudness Radar will report incorrectly). Another is that plug-ins on any track can cause glitches on outputs 3 upwards. If you use submixes to feed multichannel stems & full mix via a DME stem (eg to correctly monitor Loudness) then there will be latency issues between the different routes (this shouldnt be a problem for your scenario) Premiere Pro: Hot (3474 ideas) – Adobe video & audio apps 12.1.2 still has dynamics bug / audio glitch – Adobe video & audio apps ... View more

Agree that curves are a quick & intuitive way to grade using a mouse & that the Lumetri implementation is a bit crap (particularly when trying to grab the black & white points). I have very similar setup to you & don’t experience Lumetri lag you describe - still on 2018.1.2 though. (Once 2020.x comes out, 2019 will probably be safe to move to!) For serious grading I roundtrip via Resolve. Grouped grades/remote grades/ c mode sorting/ gallery for presets etc beat Lumetri for me. I expect I’ll move across to Resolve for editorial for short form too, but it’s not quite there yet for me. Getting close though. ... View more

Also you need your sequence to be created as ‘multichannel’, with correct routing NOT stereo (as it will be by default). Create a multichannel sequence & Copy/paste from original. (Sounds like you want 8 discreet timeline tracks routed to 8 outputs.) ... View more

The other part of this workflow is that the producer makes the edit for content/time using the raw files whilst the recordist concurrently does a balance mix for the whole recording. The resulting exports are relinked in producers session for final review, music balance & export.  Wouldn’t work for everything but it does for a simple speech based multi-contributor podcast. ... View more

-16 LU does seem to be as close to a standard for podcasts as there might be. You need to be hitting this or any external adverts/interstitials will be considerably louder. I‘ve had good results mixing to -23LU (aiming at PPM 5.5/-9dBFS for peaks - with a brickwall catching anything above -6dBFS) as normal then using a -16LU Loudness normalisation for final export. Maths say that my brick wall should be at -7.1 dBFS but nothing distorted so far. The native Loudness Radar plug-in is good for monitoring LU, also zplane PPMulator has good LU options. ... View more

ie Currently the functionality you require does not exist in PP. ... View more

That’s what you would be voting for (ie timecode window to behave as Avids does... it’s getting closer with each iteration) ... View more

Make the timecode window reflect the source timecode when source window activated (like Avid) – Adobe video & audio apps - vote early, vote often ... View more

EditReady will make H264 with pass through audio (to AAC). I’ve successfully made *very* small proxies shared via Google Drive. There is currently a bug that PP misinterprets audio track order but Adobe have it logged so hopefully will be addressed soon. ... View more

https://adobe-video.uservoice.com/forums/911233-premiere-pro/suggestions/36126022-enable-saving-of-sequence-customised-h… Do vote if you want this (avid style timeline settings switching ) ... View more

Jim_Simon  wrote My advice has always been to do your file management in a proper file manager, like Windows Explorer or Finder, before you import into Premiere Pro. It's a pretty foolproof workflow. But it has the potential to create a lot of clips I don't need. I use PPro to preview against the edit because that is the tool for the job. The external drives are fast enough to work this way, but I don't want to leave them all attached the whole time plus I want a solid backup / archive source for the media for the project. Think 'render & replace' becoming 'consolidate & replace' / 'transcode & replace'. I don't think it's too much to ask for an NLE. (Indeed I can do it with Project Management - but it requires a bit too much intervention for my liking). ... View more

https://forums.adobe.com/people/Richard+M+Knight  wrote You could make a local copy when you import the files using the ingest settings in the Media browser. Yep, I could... but that would require copying reams of clips that don't make the final edit. Thanks for the thought though. ... View more

Premiopolis  wrote Trevor_Asq I‘ve got ffmpeg up & running but having issues with 8 channel transcodes (QT ProRes & MXF AVCI ) using your recipe. I have indeed had problems working files 5 audio tracks and up, both on the ffmpeg side and with PPro interpreting them as surround sound.  But I just tested again using 8-track source, along with a 5- and 6-track and everything worked perfectly from ffmpeg to PPro.  Haven't been able to replicate the errors, but at least there's a promising solution here. Tech details: Sources in all cases were DNxHD video essence / PCM Audio 16 bits 48 Hz mono per track / MXF wrapper. ffmpeg recipe was the one posted above. Results were perfect mapping of sound, from DNx/mxf to h264/mp4. Maybe post your tech specs / workflow I was playing around with various essence but mainly ProRes 422 in a QT container - with PCM 48k/16bit. The recipe seems to fall down when I change the output file extension to .mp4 IF -map 0 is still in the recipe So ffmpeg -i "$i" -y -g 48 -c:v libx264 -profile:v baseline -crf 32 -c:a aac -b:a 256k -vf scale=1280:720 -pix_fmt yuv420p "$o" works fine when $o contains .mp4 but ffmpeg -i "$i" -y -map 0 -g 48 -c:v libx264 -profile:v baseline -crf 32 -c:a aac -b:a 256k -vf scale=1280:720 -pix_fmt yuv420p "$o" shows errors: [mp4 @ 0x7fbd45006600] Could not find tag for codec none in stream #5, codec not currently supported in container Could not write header for output file #0 (incorrect codec parameters ?): Invalid argument Error initializing output stream 0:0 -- I was also getting errors with spaces in the filepath or name - hence putting the inputs & outputs into quoted variables. Made it easier to adjust anyway. Also meant I looked through what the various switches were doing (although I'm not sure what the -map 0 switch is actually doing. (Also went down a rabbit hole of trying to add burn-in timecode, but need to somehow get my ffmpeg configured for drawtext. ) Thanks for the inspiration... ... View more

Thanks Premiopolis I‘ve got ffmpeg up & running but having issues with 8 channel transcodes (QT ProRes & MXF AVCI ) using your recipe. Before posting to ffmpeg-user I thought I’d check in & see if you had managed an 8 channel transcode? ... View more