Routing audio channels from source monitor to timeline

[Trevor Asquerthian]

Learn keyboard shortcuts.

I think the default keys for A1,2,3,4 are nine, zero, minus and equals (I have them remapped to one, two, three, four because it makes sense to me).

Turn ‘autopatch’ on ( https://bfy.tw/1SnS )

Now, if you leave V1 and A3,4 selected in your timeline – loading a new clip will be set to a default patch, with all tracks enabled.

As you have loaded a clip in the source monitor, it has focus, so your keyboard commands for A1,2 will deselect those buttons and autopatch will patch the remaining tracks (A3,4) to the currently enabled timeline tracks (A1,2).

You can use deselect all (Cmd+shift+A) to help get either side to a blank slate.

There is a setting to recall selected tracks when clip is loaded – I prefer to have this on, not sure what the default is.

Here’s a video I made a few years ago to try and encourage Adobe to be ‘inspired’ by autopatch. No luck yet https://www.dropbox.com/s/sy71wfce2tksgbg/detailed%20autopatch.mp4?dl=0

[Anna Heuss]

Thanks for your response Trevor. Indeed I have autopatch turned on and it is, in fact, not what I’m looking for. But I gather from your answer that there is probably no simple way of doing what I’m trying to do…there is never a simple way in Avid it seems, sigh…which is probably also why Adobe does not seek inspiration from Avid, the autopatch issue is not something I’ve ever had to concern myself with when using Premiere. It just works differently (simpler, in my opinion, and more straight-forward – but that’s another discussion).

[Bouke Vahl]

[Anna Heuss] “there is never a simple way in Avid it seems, sigh…”

I feel your pain. I was a seasoned editor with Premiere and M100 back in the days, taught myself.
When switching to Avid, I needed an expensive course to keep my sanity.

My advice, learn from an experienced editor, hands on if you like. The fastest / easiest way is never the most logical one.
However, Avid is still my weapon of choice.

(And don’t get me started on the function of filler, even now it is still needed to cut with black / filler to keep sync. That made sense with cutting film, but never ever on a NLE, except that the first versions had to emulate the old way of doing things..)

Bouke
http://www.videotoolshed.com

[Anna Heuss]

I feel your pain.

Thanks!!! lol

My advice, learn from an experienced editor, hands on if you like.

I’d actually consider myself quite an experienced editor, have been in the professional business for 10 odd years, working mainly on TV stuff. Started out on the avid, in fact, and considered FCP a sort of revelation when I started using that. I feel every click in FCP will take 3 on the Avid. FCP and Premiere just suit my mode of thinking and working better. But some companies still rely on the avid so have to use it for certain projects.

Anyway, thanks for your input guys. Will keep searching for an answer.

[Bouke Vahl]

I did not mean to offend you with editorial skills, just a seasoned Avid editor has a way of working within the Avid system that a mortal could not understand.
(Cutting black, especially before the ‘sync lock’ function was there, not using rubberbanding for sound, as that did not make it trough to audio post so you have to make match frame edits with dissolves to mix, the lack of ‘select all from here’ in the timeline. (It’s there now, but still not correct, it should be ‘from here’, not ‘from AND INCLUDE current, as current includes my music already exact in place.)
Not being able to touch anything without playback to stop, not being able to keep effect windows open while working, the extreem stupidity of having lineair audio dissolves as default, where they should be log (equal power, lineair should never have existed in the first place.)

But, decent database driven makes up for a lot. I never ever lost work, even when we had the bug that bins called ‘sequences’ disappeared. (I still think that was revenge from a pissed off coder…)

First versions of Premiere saved metadata from sequences / projects in the media.
So, loose your media, everything gone without any option to re-digitize and get your work back.

It’s not the hip things that make work faster, it is the simple ones.
A simple 4 min. piece took half a day in the old tape days, it did in the first Avid / M100 days, and it still takes half a day now, but most of the time way more as you get log footage, out of focus dslr footage and mixed frame rates.

/rant

Bouke
http://www.videotoolshed.com

[Trevor Asquerthian]

Maybe do a screen capture of what you are doing in PP & we’ll try & show you a way of achieving it in Avid.