[Angelo Lorenzo]

Depends on how different they are and in what ways. If it’s just a “coloring” issue, I might try and even them out with EQ, compression, and a bit of small room reverb.

[Angelo Lorenzo]

Unless I’m missing something myself, this only works in Multitrack mode. From their help file:

Hear inputs with effects applied to tracks:
Choose Options > Monitoring > Audition Mix, and then select one of the following:

Smart Input
Monitors the input only when recording a track. When playing back, monitors only the clips on the track, not the input.

Always Input
Monitors the input at all times during playback and recording. Any existing clips on the input track are not played.

To start monitoring an input, click an Arm For Record button in the track controls.

Hear inputs without effects applied to tracks

To avoid latency (an audible delay) when recording in Multitrack View, you may prefer to hear inputs directly from the sound card, without routing them through effects and sends in Adobe Audition.

Choose Options > Monitoring > External.

To set monitoring options, do one of the following:

For a consumer sound card, use the Windows Volume Control mixer.

For a professional sound card, see the card’s documentation.

[Angelo Lorenzo]

I would say try this first:
1. Make a copy of all project files involved.
2. Open each copy and run Project > Remove Unused.
3. Import these “cleaned” projects into a single new project.

Failing that, what are you exporting your 16 sequences to? If you don’t have access to an intermediate codec, I suggest exporting to MOV with the Animation codec at 100% or the JPEG2000 codec at 100%. If you want to go h.264, I wouldn’t go any lower than 45mbps if it has to go through another round of compression for something of decent quality. You can then export them, bring the 16 files into a project, string them in a timeline, export the deliverable and call it a day.

[Angelo Lorenzo]

How much do you need to sync? If its a huge project, I suggest picking up Plural Eyes. Its about $150 and will analyze the audio from the camera scratch track and sync it with the properly recorded audio.

Otherwise you can throw your footage onto a timeline, throw your audio on a second track next to the camera audio, expand and zoom into the timeline and line the waveforms up manually. In the upper right of the timeline panel there is a little settings icon, you can switch the timecode to show audio units and this will make the re-aligning of audio more exact. Once it’s aligned, unlink the camera from the scratch track and link it to the recorded audio. Unfortunately Premiere can not make subclips if video and audio are linked from two different sources… so you have to keep this “sync timeline” around for grabbing footage from.

The DSLR workflow… sucks. Timecode makes life so much easier. It’s something I’m very familiar with as I’m pretty sure I was the first to stick a 5D on a technocrane and on an ultimate arm. They’re lovely for what they are, but limited in so many little weird ways.

[Angelo Lorenzo]

When you export to DNxHD, you’ll notice it gives you a list of different video formats followed by a number when you click on codec settings button(There is a bug with quicktime, it might squish this dialog window, but its there if you use the tab button).

Ignore the formats as the codec doesn’t actually convert based on this drop down menu, it’ll convert based on the settings in AME, but pay attention to the number as this is the datarate in mbps.

You can pick any setting with 36 or 60 next to it as its close to the datarate of 7D footage, which I believe is 45mbps, and gives comparable file size and quality if you’re delivering for web.

For the most part, any intermediate codec is going to balloon your footage. You could downsize your footage to, say 720p, edit and then relink your originals before output using the “replace footage” command. This is known as proxy editing.

[Angelo Lorenzo]

Are these audio clips from a sync or from camera? Are you conforming either in any exotic fashion? I’m a little stumped as Premiere usually conforms and retimes automatically and you don’t usually get sync issues.

Did you start on a 30fps timeline and go “damn” and paste your cut into a 29.97fps timeline? I’ve don’t similar and it’ll cause gaps and throw things out of whack.

Just throwing out random stuff.

[Angelo Lorenzo]

I would personally find it too dangerous/unstable for a production-level machine. With CS5, big improvement comes from the use of a Cuda enabled card. The bottleneck at that point becomes rendering out any codec beyond h.264 (which is also Cuda enabled).

Depends on your current computer system and workflow. I would rather spend an extra $1,200 on two $600 computers and use them as frame serving nodes with After Effects (I finish and color conform all my production level work in AE) on top of my $1,000 base system, than have one single super beefy system for $2,200+. Granted my workstation is tuned for 1080 and 2k footage; if I did step up to editing 4k I may see some performance degradation that would force me to upgrade.

I can’t see overclocking shaving more than 10% off of rendering time, and that’s really generous. Plus you’re running it at 100% capacity which could cause heat and stability issues. If you have to, I’d suggest just upgrading.

[Angelo Lorenzo]

It’s not am amazing editing format, but it’s more stable than whatever codec FRAPS is using (I assume it’s proprietary in some way), is the Quicktime Animation codec. It’s designed for areas of solid color and sharp contrast like screen captures, cell animation, etc.

Where is this footage going to end up?

[Angelo Lorenzo]

I have no idea what the length of your film is, or the amount of effects, etc etc. For an hour HD project with color/image adjustments etc, 10 hours seems par for the course, for example.

H.264 shouldn’t be considered a “Master” format in professional use, although it’s probably your best bet for casual/web usage. You might want to try a higher bitrate like 35mbps which will ease the processing load in comparison to using a really compressed bitrate.

If you were mastering for DVD, Blu-Ray, etc etc you may want to try some other Quicktime codecs like Animation or JPEG2000 at 100% quality, the latter being more common for semi-pros.

[Angelo Lorenzo]

https://help.adobe.com/en_US/premierepro/cs/using/WS1c9bc5c2e465a58a91cf0b1038518aef7-7f81a.html

Read the last portion, you’ll use the timecode effect to burn in timecode on the video if you need it displayed per-clip.