Brett Nelson
Forum Replies Created
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Are you using PPro 2? If yes, it’s easy. Choose a clip, go to the Clip pull-down menu, go to Audio Options, then choose Source Channel Mappings. From there you can pick what you want.
You can only change the channel mapping for a clip before you put that clip in any timeline. If the clip is used anywhere, you can’t change the mapping…except… if you want to change the mapping on a clip already in use, just create a subclip of that clip (it can be the exact same In and Out) and then you can change the channel mapping on that new clip and use it where you want. This is handy if you want to change the mapping of a clip and you’ve already used it elsewhere.
Brett
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[marisu fronc] “)I pared the project down to the bone, and it STILL had almost 8,000 sources
You think that’s hard? In my day…maybe not.
Where media management is such a central part of your editing, wouldn’t it make sense to go over to the dark Avid side? I like a lot of things about PPro, but it sounds like you spend a lot of time butting up against what might be PPro’s greatest limitation.
Steven, thanks! I may do that. I have a lot of clips already subclipped, but moving them into bins by tape number may be just as slow at this point.
I know this has been talked about a lot before, but it would be great if different workflows were posted in a FAQ. Maybe just one example per form…spot, documentary, narrative… There was a great thread not long ago, but it gets time consuming to read through all the variations of different methods.
Brett
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Steven, that’s a good idea…something I’ll consider next time.
Marisu, I was hoping the Patron Saint of Overburdened Projects would chime in… that’s what I was thinking I’d do. Not perfect, but it seems like it will work.
I’m using subclips extensively. Will this inherently cause slower performance? Or is it better to use the good, old batch capturing only selects? I’m having some lags in playback, but it may just be fragmentation.
Thanks!
Brett
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[Dave Friend] “Sorry Brett old friend, but I feel you are making much ado about nothing.”
Okay, okay…you’re probably right. But one of the great things about learning/using a new NLE is that I can blame all my idiosyncracies on the new system. 😉
Brett
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Tim,
Thanks for the thoughtful reply! I agree with you. Probably most of my frustrations are solved by setting my clips to dual mono at the start. I also just figured out a workaround to clips I’ve already placed in a timeline that I later figure out I want to remap a different way…I simply subclip that clip and the new subclip now allows me to remap. I probably won’t need it often, but it’s a nice fallback.[Tim Kolb] “I think we’ve all gotten to the point where we expect our editing application to compensate for everything including poorly lit scenes, shaky shots, bad audio, and worst of all, a lack of planning.”
Painful but true. I’ll cop to the last one in particular. Large and portable hard drives make file management an even bigger problem than in the past. It’s very easy to hurry and create a temp folder or let something render to a scratch disk and then spend a lot of time hunting it down. A good April Fool’s Day resolution for me…review and write down my media workflow procedure.
Brett
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After playing with it for a while, I think the only way to do what I’m trying to do is in AE where we created the bubble. I can dissolve or wipe the bubble in PPro with no problem, but the center of the effect is always the center of the full video frame…which makes sense.
Thanks for the step-by-step on dip to color!
Brett
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Tim,
I didn’t read your latest post before responding to Mike…you’re question of why it’s needed is good. I did a short last year that had 12 different audio tracks. It was actually some of the time 6 stereo pairs and some of the time 2 stereo pairs and 8 mono tracks, etc. The sound designer asked for a variety of combinations of these tracks. I don’t know how I would have done it with PPro. I had about 50 timelines by the time it was done. The audio came in one way and then got used another elsewhere. The uses of the audio evolved. Particularly in the back and forth with the sound designer. And I wasn’t even thinking about 5.1. To commit to using an audio clip the same way across many timelines is a problem. Does this make sense?For many projects (maybe most, I don’t know), the current audio capabilities work well. But for long form projects with complicated audio, PPro needs work.
Thanks for the responses!
Brett
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Mike, that’s what I’m talking about… You can make it work in PPro, but it’s a cumbersome. I don’t want to have to decide if a track is stereo or mono at the start. I don’t want to have to think about the type of audio track in advance. I want to capture it, and throw it into the timeline and move it around freely. The fact that I have to make a distinction between stereo and mono up front is a challenge.
I know that part of the issue is my being a newbie to PPro and needing to learn a different audio workflow. However, it’s different from other NLE’s and it’s a roadblock getting editors to switch over to PPro. Maybe others are different, but some of my audio is recorded stereo and will be used at one point mono and at another point stereo. Needing to decide which it will be, before it gets into the timeline, doesn’t fit that scenario very well. Particularly, when I have to decide how the clip will be mapped throughout the whole project. I don’t know at the start, all the ways I will use audio from a particular source.
Again, I think 2.0 is a big step up from 1.5. I think a lot of good work has gone into it. I also really hope some of these kinds of issues will be quickly addressed and overcome in 2.5.
Brett
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I’m glad to learn this! However, this doesn’t answer my bigger frustration…I can’t change a clip’s Source Channel Mapping if it’s already in use in any Sequence. I also can’t select a whole group of clips and change any of their Mappings if any of those clips is in use in a Sequence. Again, I’ll be very happy to be mistaken on this.
Brett
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2.0 is a big improvement over 1.0 in dealing with split track audio. If you do much split track recording, this alone makes the upgrade worth it, IMO.
Having said that, I think the audio capabilities are still a pain. You can now split tracks as you would like, but you have to do it in the Project window on a clip by clip basis. Also, once you place a clip in any sequence, you can no longer change the audio settings of that clip in the Project window (and as a result in any other Sequence). So let’s say you build 3 sequences using the same clip and decide later you want Shotgun track rather than Lav or a combination of the two rather than the one you chose…you have to go find and remove all of those clips first, change the audio and then place them back where they belong. That’s messed up, sorry. Am I wrong about this being the way you have to do it?
The above is obviously not a problem if you know at the start which tracks you want to use going forward. Fortunately, it treats each subclip as a new and different audio source, so you can change audio from track to track on a subclip by subclip basis.
Brett