[Andrew Devis]

Have you set the sequence up for HDV 1080? It sounds like you are putting the footage in a wrong sized sequence.

Hope this helps
Andrew

… because it’s all about stories …

[Andrew Devis]

You could try this, go to your preferences and change the default for image input to 1 frame. Then after you have done this import the folder with all the stills in – make sure they are in the correct order and select them with the shift key first to last and then automate them to the sequence. It should work but no promises.

Hope this helps
Andrew

… because it’s all about stories …

[Andrew Devis]

Hi Kevin

Don’t forget to check out the video tutorials for premiere pro, I have put quite a few up recently that you may find a help and I plan for many more over the coming months!

If you look at the tutorial on Pan and Zoom it will show the motion panel I mentioned and how to use it.

Andrew

… because it’s all about stories …

[Andrew Devis]

You\’ve got a selection issue when working in the program monitor. If you select the clip in the timeline and then open the effects control panel you can open the motion tabs and scrub the hot text to move it. Also, I believe that if you click on the little box next to the word motion or just the word motion you will get handles for the layer and you should be able to move it in the program manager.

Hope this helps
Andrew

… because it’s all about stories …

[Andrew Devis]

Hi, yes you can I believe, you need to right click on the file in the project panel and you will find the audio options you need there to remap 5.1 and stereo to mono files – It’s called source channel mapping. These will then be added to your project panel and can be saved and used elsewhere.

Sorry for few details I’m nowhere near my comp!

Andrew

… because it’s all about stories …

[Andrew Devis]

Is there any reason you’re not doing the pip in premiere pro?

Andrew

… because it’s all about stories …

[Andrew Devis]

Hi Tony, yes you are missing some tricks. To see the waveform in pp you put your mouse over the divide at the bottom of the track in the header (front bit of the timeline). Then you pill it down and you can see as large a waveform as you like. You just zoom in with the small slider at the bottom.

I have done a few tutorials on Soundbooth so if you check those you may find out some of the workflow a little better.

Hope this helps.

Andrew

… because it’s all about stories …

[Andrew Devis]

Hi, I got both posts and I think I have some answers for you. Firstly, if you right click on your footage in your PROJECT PANEL you get the option to edit in Soundbooth>extract audio. Now, this will get the whole of the audio for the clip but you need to bear in mind that you will need to syncronise it to the video. This should be done with the whole clip on the timeline and then the audio is the exact same length and easy to syncronise. You then trim the two item to the same length and then select them both, right click on them and group them. They way they stay together … and you end up with handles to play with transitions.

As for noise reduction, Soundbooth does have a few things that can help. I intend to put a tutorial up at some point on that, but in short, go to the ‘Tasks’ Panel and choose ‘Clean up audio’. For now, the one you probably need to play with the the ‘rumble’ slider – click ‘rumble’ and preview while playing with the slider to see how much it helps. However, if that doesn’t do it, play with the others as well and see how it does. The problem with wind noise is that it changes a lot which makes it very hard to get rid of.

Now, there is one last option – again a tutorial would probably be best … but in the meantime, go to the ‘Spectral Frequency Display’ (first icon at the top) and then have a look for where the noise is. It will probably be low frequency (less than 2K) and then you need to use the rectangle marquee tool to highlight the area of noise and then use the wheel that appears above the bit you highlighted to reduce its gain – sometime you can reduce it all the way.

This approach is frequency specific, so it done with a little care it can have minimum effect on the rest of the frequency range and so save your audio.

Hope this helps and all the best with the project.
Andrew

… because it’s all about stories …

[Andrew Devis]

Hi Joe

Great to hear that the tutorial’s helpful :o)

-14dB is the default in Soundbooth and that is great for background sounds as it gives you a good overall base level. The truth is, there is no absolutes for sound mixing, different people have different levels that they prefer to work with and there is little agreement as to what is best except that going above 0dB is bad!

What I would do is play with the level to get what works best for you, but bear in mind that once the levels are matched you can then raise the volume of the whole track with the audio mixer if it is too low.

The only time I may raise the level from -14 would be if I still couldn’t get a sensible volume level with the audio mixer or maybe if it was for a series of vocals which i wanted to raise and match above the level of other background or music tracks. However, as I say, there are no rules except NO DISTORTION (above 0dB).

Hope this helps
Andrew

[Andrew Devis]

Check out the tutorials in the Adobe audition and Soundbooth section, I did one on matching the volume of multiple clips. That should do what you want – I hope. Hope this helps, Andrew