Seems adobe have released everything BUT what we all need

[Marisu Fronc]

Ron-

Seems to me the easiest solution would be to lay the clip down (vid on ch 1, aud on ch 1) apply the filter and “copy left” – this would be your left channel THEN I’d lay the same clip down in the same place with Vid on V2 and audio on A-2 and “copy right” – delete on of your video clips (or not, as you choose) and hack away.

I actually generally cut the whole piece and then razor it up and apply the filters (there’s too much back and forth deciding going on to make it worth while to worry about it before a final (or semi-final at least) decision is made.

As far as “real time” goes well . . . . applying the filters means it has to render the audio before export to tape (or it goes blatt-blatt-blatt). I don’t know of a way to “lock them together” – as I usually know when I need ch 1 or 2 (usually 1 is one person’t mic, 2 either another mic or the boom so it’s fairly apparent). If indeed you were trying to “finesse” it it would be VERY boxy (what am I saying, it IS very boxy, but you can, indeed, get there if you choose to).

I don’t know if I answered your ? or not – as I told Lyn earlier I think my brain is bleeding out of my ears at this point and I’m surprised I still remember my name. If I’ve been more horribly unclear than usual let me know (I’ll probably only make it worse, but I’ll be happy to take another stab at it).

slainte,
marisu

[Herb Sevush]

Ron –

there are any number of workarounds, But —

If you get these kind of tapes to edit very often (as I do) you’d have to ask yourself why are you using this program. There are other options and no reason to put up with this kind of situation. You shouldn’t have to have a work-around for something so basic. I own the program, and there are things I prefer in it to FCP when cutting DV, but I won’t use it again till this is fixed.

Herb Sevush
Zebra Productions

[Paul Carlin]

For an application to pretend that it is a professional NLE, it should perform like one. I must agree with the general consensus here that PPRO has not lived up to the demands of professionals. I have been disappointed since the day I made the commitment to use PPRO at home, and I couldn

[Ron Shook]

[Herb Sevush] “The worst part about it is that 2 NAB’s ago I spoke to the main PPRO designer outside the Adobe booth and he didn’t even understand that it was a problem.”

I gotta tell you, Herb, I am just agog at this or to borrow from Marisu, “blatt, blatt, blatt”ed. How anyone with even a rudimentary understanding of what an NLE is for, let alone the main PPro designer, couldn’t understand it is,…is,…I don’t know. “Stereo” is for output, not input, unless all you’re editing is something like a music video to a pre-recorded track. How could PPro feature “cool” 5.1 mixing and leave things this way. Trying to cut and edit video and audio with a 5.1 mix on a documentary or drama, particularly with a lot of natural sound, would turn into a nightmare of epic proportions. If this isn’t fixed in version 2, No Way!

Ron

[Marisu Fronc]

Ron, Ron, Ron-

All I can say is – be glad YOU get to choose. Right now I’m back in the dark ages of hand inputting capture data read off an EDL printout because (you’ll LOVE this one) an EDL import gives you a timeline, it’s true – unfortunately it doesn’t separately allow you to recap clips – only sources (read as Rolls) which means if I need a ten second clip at 1:00:00 and another 6 seconds at 18:00:00 it wants to capture from 1:00:00 to 18:00:06 (needless to say, even when the SAN is FINALLY working I don’t have the space overhead for this) – the short 10 minute programme I’m trying to recreate wanted me to recapture about 4.5 hours of footage (NOT) so, instead, I’m writing down the info (oh yes, keeping in mind the fact that all the DF or NDF TC will be wrong) and reinventing the wheel one edit at a time!!!!!!!!!

I think it’s about time to report my “bald” picture as I’m very, very close!! 😉

slainte,
marisu

[Ron Shook]

Herb,

[Herb Sevush] “If you get these kind of tapes to edit very often (as I do)”

For me, it is by very far the rule rather than the exception (discreet audio on each track), and I would think that it would be the same for anyone who isn’t editing trailers and consumer camcorder material, i.e., professional production source tapes. This is the first time in my life that I wish I could use an animated emoticon graphic of a huge shrug, rather than clear language to express something.

Ron

[Ron Shook]

Marisu,

[marisu fronc] “All I can say is – be glad YOU get to choose.”

Glory Be, you bet I am glad. These kinda gotchas are most destructive, and you’re one woman I wouldn’t wanta be in the same room with right now, as much as I appreciate the heads ups and your pre-bald beauty. (g)

Take great care,

Ron

[Marisu Fronc]

Ron-

[Ron Shook] “you’re one woman I wouldn’t wanta be in the same room with right now,”

I guess my husband is truly a brave man – he can actually sleep in the same room with me AND my swords!! 😉

slainte,
marisu

[Steve Spaw]

OK, Here is what I do -YES it is a workaround. It is a pretty powerful solution.
Situation – Lav mike on one channel (and I want to compress) and Nat sound that needs EQ and more level on the other.

1. Every default Project contains 2 MONO submix tracks.
2. On the Mixer – Track 1 is set for output to submix 1 (instead of Master)
3. On the Mixer – Track 2 is set for output to submix 2 (instead of Master)
4. On the Mixer – Track 1 Add Effect “Channel Volume” and on the pull down select

[David Cherniack]

[Ron Shook] “If this isn’t fixed in version 2, No Way!”

“Shocking” is putting it way too mildly. That the head designer couldn’t see the sense in what Herb was trying to convey is just appalling beyond belief.

My guess is they didn’t really understand the needs of professional users when they designed the thing and either didn’t talk to any, didn’t listen if they did, or just talked to people who really had no idea about professional use. Sorry if any of this last group are hanging here but if so, you really ought to hang your heads in shame.

The paucity of built-in shortcuts requiring wasted time and energy, the miserably inefficient project window, this dumb stereo dictatorship of audio tracks that I wasn’t fully aware of until now, and dozens of other poor design choices I’ve come across that any working editor could have told them not to do that way all point to a management team that has a lot of waking up to do if they really hope to enter serious post facilities.

When I saw the capabilities of Axio, I said wow! But every time I start to seriously consider it or Cineform as solutions for my work I’m confronted by the glaring deficiencies of Premiere and I shy away like a fish from a poorly baited hook. For a year now, I’ve been thinking I’ll give them a shot with version 2. But let’s face it, with stories like what’s come down in this thread we’re not likely to see the core design issues fixed. Maybe after a hue and cry when 2 comes out, but then it could well be another two year wait.

David
AllinOneFilms.com