Audio track moves with out the levels!

[Richard Knight]

Just start the work area bar 5 seconds before the start of the programme and this will be the start time for the export.

Richard Knight

[Bruce Klein]

Well I did just that. The bars/tone/countdown leader is gone but now It now has about 25 seconds of black before it rolls. I’ll give it another shot.

I do thank you for your response.

I use Adobe Premiere Pro CS 5.5 on a IMAC 27, Intel core i5 2.7 GHz, 12 GB 1333 MHz DDR3… MAC OSX 10.6.8 I have a 2 Terabyte external drive fire wired in also.

Thanks in advance for your help.

Bruce

[Alex Udell]

Hi Bruce…

You likely did you mixing in track mode. That’s why the keyframes don’t ripple with the clips.

there are a couple of ways to deal with this.

option 1

Sometimes a quick fix for this is to use nesting.

1) Make a new blank sequence
2) Then in the project panel drag your previously edited seqeunce onto the new sequence timeline.
3) Now you can deal with it like a clip and trim it out to set up the the leader the way you want. The fully editable mix still exists within that sequence and will ripple accordingly as you trim and set up your leader.
The downside to this is that you multi track mix will only be a stereo pair on this timeline.

if that’s not acceptable then you will have try option 2

forget the nesting and focus on your main sequence.

You’ll have to use the Pen tool in the timeline and click and drag to marquee select all the keyframes in the track.

This will turn them yellow.

Then click on 1 of the hightlighted keyframes and start to drag left or right (earlier or later). There should be a time readout that tells you how far in time you are moving them.

Also, if you then tap the SHIFT key during the drag, it should constrain the move (either horizontally or vertically depending on the way you are dragging at the time) this will allow you to move in time with out adjusting level by accident (or adjust level without shifting time by accident accordingly)

You’ll have to repeat this for every track individually.

Alex

[Bruce Klein]

Rich and Alex, I would like to thank you both for your suggestions and help.

I just went back into the audio track and adjusted the levels. I am glad it was only one audio track.

The question is if i were to adjust the levels with the mixer instead of key frames on the track would the levels move with the audio track?

Also, I am still working on understanding the audio tracks and how they appear. Also how to toggle them off and on. I was having a miserable time getting tracks active or inactive. I found that I had to click back on a similar clip (the same type source clip) to make associated tracks active. I would then need to click back on the clip from another source to activate those associated audio tracks. I am referring to 2 different source files from 2 different cameras.

With my old discreet logic’s edit, I could just “tab” a track and make it active or inactive and to copy was a cut/paste or drag and drop function.

If you know of any links to tutorials concerning the sound tracks I would appreciate it.

I use Adobe Premiere Pro CS 5.5 on a IMAC 27, Intel core i5 2.7 GHz, 12 GB 1333 MHz DDR3… MAC OSX 10.6.8 I have a 2 Terabyte external drive fire wired in also.

Thanks in advance for your help.

Bruce

[Alex Udell]

Hi Bruce…

Track level automation done by either the pen tool or the mixer, the result is the same. Keyframes on the track.

However, there is an important distinction between clip keyframes and track keyframes.

If you set your audio tracks to clip mode, and add key frames to the clips, then ripple edits and rearrangements will respect those keyframes and move with the clips. These keyframes can only be set with the pen tool in the timeline or in the effects controls panel for the individual clips

If you set your tracks to track mode (which you were in) when you add keyframes, they are not associated with individual clips, but rather just a absolute position in time on a track and thus don’t move when you, ripple the events on the timeline.

The same is true for audio effects (like reverb). they can be inserted and automated on clips or in the mixer bus at the track level. Effects and their automation applied at the clip level will follow the clip as you move/trim it.

Why would you want to do this?

It’s global versus local.

Let say you get your cut in line and you want to start EQing, adjusting dynamics and wetness a particular talking head that you cut back to throughout a edit.

If, after you edit, you isolate all the audio from that talking head down onto a particular track (a logical grouping if you will). Then you can apply the effects in the mixer and it will apply consistently to all clips on that track. Thus if you need to make changes, you make adjustments in one place. This is also important for wet/environmental effects, where, because the effects processing happens at the track level, reverbs will have natural decay, even if the edit event ends. If you apply reverbs at the clip level, the reverb will cut abruptly at the end of the edited event on the timeline.

For levels editing, applying local keyframes at the clip level can help you smooth out jarring inconsistencies of peaks and valleys, but then you can make those now smoothed clips fit into the overall mix by adjusting at the mixer level.

For music beds there may be specific passages that you want to control the level of. That may be better approached at the clip level. But if you are formatting a mix for a TV breaks in a show, you can add some automation at the track level. If the breaks need to happen at specified intervals, then you can replace the music clip, but the automation taking you in and out of a commercial break will still be in place.

Hope this gives you some ideas as to how to approach audio in PPro.

Alex Udell
Editing, Motion Graphics, and Visual FX