-
How do I sync sound from two cameras then edit in new sequence?
Gday,
I am filming with a canon 500d but capturing sound on a sony hcr1.
I have synced up the sound from the sony with the 500d clips in a sequence timeline, deleted the 500d sound and sony video, dragged the sony sound track into the original 500d sound track and linked the 500d video with the sony sound.
But then when I to drag them back into the project window so I can edit them all together into a new sequence the newly linked sound track reverts to the 500d sound???
Please forgive my ignorance but I simply cannot figure out how to do this.
(I am learning Premiere ‘on the fly’ as it were.)Thank you for any advice.
Kind Regards,
Wolf -
8 Replies
-
Which version of Premiere do you have? If you have CS 5.5 you can select both the audio and video on the timeline and select “Merge Clips”. This will create a combined subclip of both material as a new item in your library/media bin.
If you don’t have this option because you don’t have a newer version of Premiere, the best you can do is have a scratch timeline and group the audio and video so you can copy/paste it into another open timeline.
– Angelo Lorenzo
– https://FilmsFor.Us Sell your film and connect with your audience -
Thank you for your reply.
I am using cs5, not 5.5 so with no ‘merge’ option I am forced to edit it directly in the timeline?The only other option I can think of is to export the finished clip and import it into a new project as a new media item?
Sorry for my ignorance… I am new to this.
-
You can if you want working copies, you can transcode them to an intermediate codec.
You can also just join or group the video to the audio. This connection only exists in a timeline, so to move it to other timelines you need to cut/copy then paste. Cumbersome, but that’s why the merge feature is so great.
– Angelo Lorenzo
– https://FilmsFor.Us Sell your film and connect with your audience -
Transcoding is a great idea IMO. Even though PPro can edit DSLR footage, it still requires more processing resources to do so. Transcoding to ProRes422 or Avid’s DNxHD codec (you need FCP to encode to the first one, the second can be downloaded for free) will speed up the editing side of things.
Synchronize your footage with your audio, using a different timeline for each “clip.” Export your timeline via Adobe Media Encoder with the ProRes422, DNxHD, or whatever hi-quality editing-ready codec you would like to use.
If you’re syncing your audio up-front this doesn’t require much extra time (it will require more hard-drive space, however). And in the long-term it definitely helps in the organization of your media files, especially if you ever end up switching platforms or editing applications.
Ben Unguren
Motion Graphics & Editing
http://www.mostlydocumentary.comSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
I have to say that by the time you’ve done all this Preparation I’d have finished the edit… 🙁
– JB
Jon Barrie
Adobe Video Solutions Consultant ANZ
Jon’s YouTube Tutorial Page
follow Jon with twitter -
Thanks everyone for your suggestions.
My editing experience to date is old-school analog (worked as weekend news cameraman for small town tv station in the early 90’s) and some simple imovie stuff for youtube.
I’m now producing a pilot tv show and learning Prem Pro on the fly.
I think I need to watch some more tutorials.
I’ll try Ben’s suggestion first.
“The lesson of history is that no-one learns from history’s lesson”
-
[Jon Barrie] “by the time you’ve done all this Preparation I’d have finished the edit”
Jon makes a good point. For shorter pieces, you might just cut the unsynced footage and match up the few parts where you needed synchronized audio. But if you’re editing something longer, like a television episode or feature-length documentary (where you might have a hundred hours of footage), the synchronizing-and-exporting process, while more time-consuming in the short run, will save you countless hours in the long run.
Back when we shot on film more frequently, everything went through this sort of synchronization-and-transfer process. With sync-in-cam devices, that went away. With the arrival of DSLR video, syncing is back! (At least for a while….)
Ben Unguren
Motion Graphics & Editing
http://www.mostlydocumentary.comSome contents or functionalities here are not available due to your cookie preferences!This happens because the functionality/content marked as “Vimeo framework” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.
-
That’s pants! firstly according to Adobe TV you really don’t need to transcode unless you’re sharing footage between systems, secondly it’s a pretty basic requirement for many editing situations … I moved across from Media Composer because of the after effects integration (and soundbooth) which are fantastic .. but having moved into DSLR shooting recently it’s a major pain… I’m making a show that has many short edits (kids answers to funny questions which appear as a graphic before the answers)some of the funniest answers are literally just “uummm” … do I have to synch up the fine cut rather than the rushes? will even pluraleyes be able to do this? there must be a workaround apart from outputting a QT submaster (will I lose quality?? final destination web and poss DVD)
Any suggestions welcome (apart from upgrading to CS6 which I may do when I get paid for this job!)
thanks !!Alan
Reply to this Discussion! Login or Sign Up