[Ben G unguren]

Scott:
I just remembered what I did when I had the same problem (I also learned this the hard way) — I exported the edit as an XML for FCP, imported into FCP then did the audio editing like I always used to do in FCP (unlink the L/R channels, set both channels to mono). Then I exported that as a new XML and reimported into Premiere. Worked like a charm. Sorry I didn’t remember that sooner — give it a try! (assuming you still have a functioning copy of FCP laying around)

[Ben G unguren]

I think you’re talking about an insert edit (F9 hotkey in FCP)– the default hotkey in PPro is the comma (,) key.

For what it’s worth, the red arrow, an overlay edit (F10 hotkey in FCP) is the period (.) key in PPro.

[Ben G unguren]

Looks like the “rolling shutter” problem to me. I’m guessing this was shot with a DSLR or other camera with a CMOS chip inside it.

I’ve had good results with the Foundry’s “Rolling Shutter” plugin — you get a 15-day free trial with it. The plugin is a bit pricey but you can also “rent” it for about $5/day — this is how I do it, as I usually only need to use the plugin every once in a while, and can do everything in a single day.

[Ben G unguren]

If ALL (or nearly all) of your footage is 24fps, then the best thing to do is edit at 24fps, then add “3:2 pulldown” when you export. This assumes you’re working in NTSC or PAL instead of HD. Can you give more information regarding workflow (types of files coming in, where they’re headed, etc)?

[Ben G unguren]

Thanks for the tip, Jason. You’re right that it isn’t the prettiest method, but it will definitely come in handy from time to time. cheers!

[Ben G unguren]

In general, animating position is more intuitive — you grab the layer, move it around, a keyframe is set, etc.

For Anchor point you often drag the numbers around in the timeline, or you can use the ‘Y’ tool (I forget its name, the Y key is the shortcut) and hold down Cmd/Ctrl while dragging the anchor point and the layer will move. The key here is that the anchor point remains in the center of the composition. This means that rotations will happen around the center of the composition, and scaling will happen around the center of the composition.

The visual result of all this is it looks more like a camera was panning, rolling, and zooming, instead of the layer itself. So for stuff like maps and photos, where you want to make it seem like the camera’s in charge, anchor-point animation is almost always better….

[Ben G unguren]

My first guess as to how it happened is that you duplicated your comps in AE things got muddled — that’s happened to me before.

Regardless of how it happened, you can get back to normal fairly quickly by importing the AE comps into Premiere from scratch. Double-click in the project window, choose your AE project, then choose the comp. Use a match-frame replacement in your timeline or just match up the clips manually. Shouldn’t take more than 30 seconds per AE clip to fix.

[Ben G unguren]

Might be an Open GL problem. Quoting Dave LaRonde from a post earlier today:

“Let’s eliminate something very common right away. If something previews fine but doesn’t render, it can be indicative of using Open GL to accelerate rendering. If you’re using it, turn it off. It’s okay for previewing, but about 95% of the time, it’s NOT okay for rendering.”

[Ben G unguren]

For this spot, at least, a lot more than AE was used. It looks like they created a 3D model of the body, and used that model to drive the dynamics of the text.
Here’s a making-of video — very interesting stuff:
https://www.youtube.com/watch?v=INA1lK55VSg

[Ben G unguren]

You have to interpret your audio (right click on the clip in the project window–>Modify–>Audio Channels…), and choose Mono instead of [the default] Stereo.

It isn’t clear where you are in the editing stage — hopefully you’re just logging the footage, and haven’t started cutting yet. Because the HUGE catch here is that you have to do the interpreting BEFORE you start cutting with your footage. Otherwise you need to have a second instance of the footage in your project (that isn’t in a sequence yet) and then interpret the audio, and then replace everything where needed.

My guess is that you are only hearing one channel of the LR (that happens… somewhere along the line…); switching to mono will, of course, send both channels into both ears. Hopefully that helps!