-
Narrative Film Workflow – many audio tracks
What is the best, most simple workflow for narrative films in regards to multiple tracks of audio?
So, I have the camera files with their reference audio tracks, and I have the sound mixer’s tracks that I have to sync (sometimes seven tracks). Part of the problem is that if I start moving around and editing with all these tracks of audio it’s very unwieldy and isn’t exactly a pleasurable experience.
I don’t like the idea of ‘merge tracks’ or ‘multicam’, because I think the former is outdated and the latter is a workaround.
Is there a method that is almost universal that I should be working with, or is it the case that Premiere is too-slowly catching up with Avid for being a narrative editing tool? (I have to use Premiere for this). I tend to stack timelines and use the pancake method like I see they do for Fincher’s movies.
Some workflow options I’m thinking about:
1. Create ‘sequences’ in the project panel for each Scene and Take. Then lay out all the sequences in a Main Sequence and start cutting away. Pros: I’ll only have one track of audio. Cons: It doesn’t look like I can flatten a sequence to hand off to Sound.
2. Once the audio is synced I delete the on-camera reference audio so at least I don’t have that to deal with. Then suck it up and edit with multiple tracks of audio. Pros: Potentially less headaches down the line. Cons: I’ll still have seven tracks of audio to deal with which will slow me down during the edit.
Please let me know if I’m missing anything. I’ve scoured all the premiere info out there, including the Vashi info for the Fincher movies where he skips over this helpful info.
Thanks,
-
3 Replies
-
Hi Luke, I would start by fully reading Sofi Marshall’s article on merge clips vs multicam:
https://blog.frame.io/2018/05/14/how-to-batch-sync-audio-in-premiere-pro/
How you choose to cut is highly personal, but I prefer to set up Premiere as close to AVID as possible. In other words, using a bin-based, source/record workflow for assembly, and trim mode for polishing. I would strongly recommend against just throwing your picture and sound in a bunch of sequences. It will only lead to headaches, imho (how will you know if something gets knocked out of sync, for one?)
When I cut, I like to carry all the audio tracks, disabling the ones I don’t need (but not deleting). Then everything gets enabled before I send an AAF to post sound. Since there is no audio fidelity lost, the sound team can work directly with my exported audio, only conforming back to source if absolutely needed.
Editing with so many audio tracks does not slow me down, but that’s because I’ve gotten used to it. You might struggle for a few days or weeks, but after a bit of practice, it should become second nature. Learn all the keyboard shortcuts for track height adjustment 🙂
You can also sync your rushes as described in the article, but then only lay down one track of audio (usually the “mix” track) when you assemble. It’ll make for a lighter timeline, but you’ll have to make sure the sound team can conform your timeline back to source, OR you’ll have to matchframe all your edits and overwrite the audio with the full complement of audio tracks before you do your handoff.
Just my two cents … in the end you have to do what works for you.
-Matt
-
Thanks Matt. I have actually read that article and followed those instructions. It was a day’s work bringing all the audio back to the timeline with Match Frame and also it was unnerving doing so much in the timeline after picture-lock, increasing the chance that something could go wrong. But it worked pretty well during the edit.
I will take your advice and get used to working with so many tracks. I hate the technical side of editing and just want to dive in (obviously with colorists and sound in mind).
It’s a shame you can’t ‘collapse’ a set of tracks so that it appears as one on the timeline. Oh well.
Thanks for your reply!
-
Hey Matt
I’m longtime Premiere editor. Actually went back to school to learn proper audio editing and cutting picture so audio works.
IRRC when using Multicam the resulting track will visibly only show the track you select, so your sequence will be fairly clean.
Your audio folks always want separate tracks for each actor, same for EFX, music, etc.
The only ones you have to set up differently are EFX and Music. Label each track clearly.
I normally do all my own audio but treat as if I’m sending to someone else. That helps me keep my tracks straight.
Also a bit more time setting up your session will save you headaches later on!
Reply to this Discussion! Login or Sign Up