[Angelo Lorenzo]

There are. I’ll try not to get two technical but there are two types of audio noise: broadband noise and narrowband noise. Think of broadband noise as trying to make out the figure of a person in fog. You have to remove a lot of fog to see the person. Narrowband noise is like seeing a painting that’s all green but has one red dot. It’s usually pretty simple to remove the one red dot without leaving a trace, or maybe a small trace.

Broadband noise is reduced with Adobe Audition’s reduce noise filter. This filter allows you to select an area in your file that is all noise. The filter will create a noise “fingerprint” from the sample. You can then select the entire wave file and apply noise reduction. Many people try to reduce all the noise in one pass but I suggest taking a fingerprint and reducing noise in small amounts, taking another fingerprint, reducing a little more noise, and so on.

Narrowband noise can sometimes be removed with Audition’s spectral healing tool (I suggest you look at Audition’s help file). This is useful for removing brief noises that aren’t part of the frequencies that make up human speech. Think of the beep of a fire alarm.

——————–
Angelo Lorenzo

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[Angelo Lorenzo]

I know this happens for Windows, but I’m not sure if this is the same behavior for OSX.

You have to deal with setting all your gain stages. Gain stages are points in your signal chain where the audio is being processed where gain (volume, basically) can or is adjusted.

You have:

1. Device (optional). If you have a Mic, it won’t be adjustable, but if you have say a electric keyboard then it is.

2. Pre-Amp (optional)

3. Input board. In this case it is your Zoom acting as an input or interface for your computer.

4. Windows will have a recording input level, even for ASIO devices. For your situation I have a hunch this is where the problem lies.

5. Premiere’s record input level. This may or may not be a factor. I think it only uses gain for playback.

The goal is to have as hot (loud) as the rest of the process chain can handle, as early in the chain as you can. If you amplify later in the processing chain then you’ll usually end up with more noise (a higher noise floor).

——————–
Angelo Lorenzo

Need to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
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[Angelo Lorenzo]

Sounds like a codec issue.

In your bin, right click a file that isn’t working and select properties. Copy and post here the information in the window that pops up.

And what I mean by originating source, the camera or capture device.

——————–
Angelo Lorenzo

Need to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
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[Angelo Lorenzo]

Operating system?
GFX card?
Version of Premiere?
Source of originating footage, or codec if it’s been converted already?

Have you tried clearing your media cache or trashing your preferences (hold shift while Premiere starts)? These are two standard “clear the cobwebs” solutions.

——————–
Angelo Lorenzo

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Introducing ProRes Helper, an awesome little app that makes it possible
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[Angelo Lorenzo]

Its hard to tell from the stills, but the channels all look a little fried. I would try tracking the object and applying a localized channel blur.

5DtoRGB may help, as I would also assume any conversion with FFMPEG/FFMBC as they bypass Apple’s Quicktime elements which seem to chew up video.

——————–
Angelo Lorenzo

Need to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
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[Angelo Lorenzo]

Scale, right click and select nest which nests the clip in another timeline, then scale the nested clip. Rinse and repeat.

——————–
Angelo Lorenzo

Need to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
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[Angelo Lorenzo]

I think most of the suggestions negate the fact that the OP here wants handles.

There are a myriad of solutions to take a timeline out to ProRes and into resolve if you just want to use an EDL as a cut list.

I think you’re writing off After Effects a little too soon.

I propose the OP fashion a script as follows:
1. Open layered project into After Effects
2. Script breaks down layers into comps (comps should start with the timecode of the clip naturally)
3. Script adds handles by increasing the length of the comp and the length of the footage, taking care to make sure timecode stays aligned from comp to source.
4. Adds to render queue.
5. Export a set of trimmed media in ProRes

Resolve should be able to reconform the timeline to the new media based on clip timecode. I’m not a resolve master but it seems like a safe assumption.

——————–
Angelo Lorenzo

Need to encode ProRes on your Windows PC?
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[Angelo Lorenzo]

Reverse the clip, process it and reverse it again so it’s normal and you will have noised reduce the beginning of the clip. If adaptive noise reduction gives you an acceptable result (to you) then go with it.

——————–
Angelo Lorenzo

Need to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
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Fallen Empire – The Blog
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[Angelo Lorenzo]

Do you have After Effects? Without diving in and doing something for you (I don’t have the time at the moment) you could import the Premiere timeline into AE where you see all the edits as layers, then use a scrip to break apart the layers into new comps, add handles, and add to the render queue.

I would check some AE scripting sites for something suitable. This would seem like a common enough request.

Also with AME (an aside to the issue really), in preferences you can set a default export directory. You can also select all in your render queue and change a single preset to apply to all selected clips; a two-click process.

——————–
Angelo Lorenzo

Need to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks

[Angelo Lorenzo]

Dennis does well to answer your second question. In regards to your first, Adobe is well aware of the audio scrubbing issue but I would still cast your vote for it as a feature request (Adobe places more importance on features based on the number of requests)

In the mean time you can use shift+J or shift+L to scrub in smaller speed increments.

——————–
Angelo Lorenzo

Need to encode ProRes on your Windows PC?
Introducing ProRes Helper, an awesome little app that makes it possible
Fallen Empire Digital Production Services – Los Angeles
RED transcoding, on-set DIT, and RED Epic rental services
Fallen Empire – The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks