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Working with Double-System Sound. How do I replace audio in my source files to effect clips in the timeline?
I am working on an HDV project in Adobe Premiere Pro CS4 that currently consists of clips of video that have been automatically linked to audio from my camcorder’s mic. During the shoot, I also used a separate audio field recorder (Sony PCM-D50) to simultaneously capture sound of higher fidelity.
I wish to replace the linked lo-fi source/camcorder audio with the hi-fi field recorder audio; however, it seems unnecessary and inefficient to replace and synchronized the audio of several individual clips stemming from the same source file. There must be an easier way to sync audio for people who use an audio source separate from the camera. Is there a way to replace the audio of the source files so that all of the clips in the timeline will have the new properly synced audio from the field recorder? Please help and thanks in advance.
-Rejh
PS Another thread explained one method of linking the video with the desired audio, nesting the linked files into a new sequence, and using the resulting sequence as the source video. Still, this seems less efficient than the syncing functions of other NLE’s.
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6 Replies
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I use the same technique sometimes. But only in situations where I can let the PCMd50 roll for the entire time of the filming (i.e. I do not stop the seperate audio recorder, it’s gonna produce a long audio track…).
I set my camera timecode to the time of day. The first shot I do is a sync marker (hand clap)
In FCP I sync the first shot and the entire track of the sony recorder (on the clap). Since I know the timecode of the sync marker in the video, I replace the timecode of the separate audio track.
After that I can put every video shot in the corresponding timecode of the PCMD50. Works ok. -
Rejh,
A nested sequence is actually how we do it as well. I do sometimes wish there was an easy way to link media in the project panel. CS4 did bring nesting as a menu item, making it possible to add a shortcut, so the process is pretty painless these days.
Vince Becquiot
Kaptis Studios
San Francisco – Bay Area -
Thank you both. Adobe, please make this easier for us. The reason many of us use your product as opposed to Final Cut Pro or Avid is its integration with other Adobe programs, which, presumably, would simplify a work flow that includes, for instance, After Effects. However, many shoots utilize double system audio, making the process longer than it would on competing NLE’s.
If anybody comes up with an easier process, please inform. Thanks.
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Yikes! Is this true? I just did a RED show in Avid and had to sync all the dailies. Seemless and relatively painless, given that Avid lets you create a new master clip from your synched Audio and Video clips.
Is it true the only way we can do it in Premiere Pro is to make a nested sequence? Which will no longer load with a double-click into the source monitor? That’s a big downer. I was excited by Premiere’s ability to work with Red footage natively (Huge plus!), but it’s quite outweighed by seeming lack of proper tools to sync dailies…
If I’m wrong, somebody please point me in the right direction.
Chris Conlee
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Hi Chris,
Yes, the current PPro format to work with sync audio/vision is to create a new seq.
The way to open it in the source panel is to hold down the (PC) Control key or (Mac) Command Key while double clicking it. Then it will open in the source monitor.
Hope this helps.
– Jon Barrie
Jon Barrie
aJBprods
http://www.jonbarrie.net
http://www.suiteskills.com -
Thanks for the shortcut. Yeah, it’s not too bad actually. And given that Premiere can play the R3D files natively, I can see some pretty good benefits for RED shows.
It’s hard to give up my Avid ways, but I’ll keep playing with it.
Thanks again.
Chris
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