[Alex Udell]

EDL technology predates nonlinear editing systems by many years. So file names are typically not part of an EDL specification. (as there were no such thing as video “files” in those days.)

My understanding is that EDL’s should be used if you want to recapture from his tape based sources.

If he had CS5, he’d be able to export an FCP compatible XML project that you could simply open an reconnect to media (assuming a compatible media type). So maybe you could send the PPro Project to someone on the board here that has CS5 and they could convert it for you and send you back the FCP compatible XML.

either way:
I’d suggest he output a Mixed down clip of his edit that you could then drop on a higher layer of your sequence. This will allow you to visually match your conform to his edit for accuracy by muting and unmuting the top layer to check and make sure the clips match.

does this help?

Alex

[Alex Udell]

Ann is correct….

and this is another little vexing thing to editors from other systems.

PPro (similar to avid) allows for volume (and other fx) keyframing on individual clips. In this case you will see the yellow volume on the audio tracks only present within the boundaries of the clips themselves.

However, similar to the default behavior of FCP, it also allows for volume automation at the track level. When you are in this mode, you will notice the yellow volume key frame automation line runs continuously across the track entire track. It is in this mode PPro prohibits you from trimming audio.

I got aggrivated by this a couple of versions ago, but once you know it….makes perfect sense….

Why would you want both….if you have a particular audio event that has some quick dynamic changes within it…you can key frame at the clip level…then if you slide the clip around the timeline…the key frames stay with the event. However, you then have a secondary level of automation that allows the the track to fit into mix without having to deal with all the key frames of that particular event. (not to mention the sub groups available on the mixer itself. 🙂

hope that erdiculously verbose answer puts the feature in context…

🙂

Alex

[Alex Udell]

FYI…

As of CS4 I don’t think that this has an effect unless you have your tracks enabled properly.

So that may be why you don’t see it working.

Alex

[Alex Udell]

You can always use an iStock photo.
I’ve had good luck with that.

“Look Garth we’re in…Delaware.” Wayne’s World

Alex

[Alex Udell]

Yup, it seems silly, but there is no workflow that does this right now with SB and PPro and SB. At least none that I am aware of.

Essentially, you can export a file from PPro and import it into SB, an then work with the video…but it’s not really a solution for scoring or Sound FX work.

I’d treat it more like this….

PPro offers a very compelling audio suite of tools: great fx that work at the clip and track level, and even sub-frame audio trimming.

That means you can get most of the heavy lifting for arrangement and mastering FX done there.

You can then push individual clips that need repair into SB using the workflow discussed.

Also you can export your sequence as a (QT or AVI)file and bring that manually into SB for scoring and FX spotting.

In this workflow, when in SB save your score and or FX tracks as ASOUND (adobe’s new file format CS4 and later) and bring that file back to PPro and drop that on to your master timeline.

ASOUND is a Container file that will bring back your full SBooth Project back up when you “edit original” from PPro.

What I’m hoping…and this is purely speculation, is that eventually PPro will let you generate an ASOUND document from your PPro timeline…bring in all your tracks (audio and ref video) and fx from PPRO into soundbooth. Bur for the most part PPro audio is so advanced,most of what you need to do can be accomplished there.

does that help?

Alex

[Alex Udell]

Do you see the pops in the waveforms themselves or could this be an issue with your audio subsystem?

Alex

[Alex Udell]

Hi…

On the PC the default is Ctrl+K.

I’ll assume Command+K on the Mac.

(Razor at Current Time Indicator)

Alex

[Alex Udell]

RE: Hi Rez PSD’s

You must be commenting on down scaling them.

Yep the hardware scale can get ratty pretty quickly.

Alternative method available in motion 3 is the Library>Image Units>Geometry Adjustments

These give a superior down scale acan save you from having to make several resolution versions of files in Photoshop.

Alex

[Alex Udell]

Hi Angeline…

this is one of those areas of PPro that vexes even veteran editors of various systems.

Premiere’s default behavior is to treat all audio as stereo.
If you look at your timeline on the left hand side, you will notice icons that look like little BOW TIES. these are actually 2 speakers. This represents a Stereo audio track. This is great for music. Not great for split channel recordings like yours.

There are a few workflows to deal with this.

One is to use a filter effect called FILL LEFT or alternately FILL RIGHT.

Drop one of the clips from your camera on to the timeline.

From the effects panel: add FILL LEFT to the audio. If you hear your mic’d audio and not the ambient track, then this is the correct choice. If not, UNDO and add FILL RIGHT.

Essentially, this technique just uses the Left or Right audio signal of the stereo pair on both of the stereo channels.

This should solve your problem, BUT there are other ways to handle this if you like.

Hope this helps,

Alex

[Alex Udell]

I doubt it works with PPro CS3.

Yes it is a auxiliary software.

Alex