[Chris Conlee]

Did you ever get an answer to this problem? I’m having the same issue, and want to figure out how to properly route a LFE channel in Premiere Pro CS5.

Thanks in advance.

Chris

[Chris Conlee]

Thanks for the advice, folks. My problem was solved by Wil Renczes on the Adobe forum. The problem is an audio driver configuration problem which apparently Adobe is aware of. The fix can be found here:

https://kb2.adobe.com/cps/842/cpsid_84287.html

Just an FYI, in case it pops up again.

Chris

[Chris Conlee]

I’m an Avid editor, so I am in no way a FCP expert. But generally speaking, to do what you’re trying to do correctly, one or the other framerates should be converted to match the other before beginning your session. Since anything you shot on your DVX100 is in fact 29.97, with pulldown (one type or the other), you should still be able to capture that without removing the pulldown, thus generating a 30i stream. As somebody else mentioned, this will have to be field-blended in some way to make it look progressive.

It’s unfortunate that you didn’t shoot and edit in 30i, in some regards, because it’s much easier to accomplish frame rate conversions. 30p is a real stumper. Good for certain applications, but difficult to fix problems such as yours.

If you simply deinterlaced the entire project, it might create a smooth playback. However, you’ll basically sacrifice half your vertical resolution to do it. Maybe try simply deinterlacing the 24p (captured as 30i) footage? At least then only this portion of your show would be reduced in resolution.

There are a few tools to look at: JES Deinterlacer, DVFilm Maker, and Miraizon Reframe come to mind. One is free, the other two aren’t.

Good luck.

Chris

[Chris Conlee]

Thanks for the shortcut. Yeah, it’s not too bad actually. And given that Premiere can play the R3D files natively, I can see some pretty good benefits for RED shows.

It’s hard to give up my Avid ways, but I’ll keep playing with it.

Thanks again.

Chris

[Chris Conlee]

This is a cludgy workaround, in my opinion. Clicking and dragging is a sure-fire recipe for carpal tunnel syndrome. Adobe needs to make it possible to create new subclips with synched audio and video so a simple double-click would get it to the source monitor.

At the very least, add a modifier key, such as Command + double-click, or something that makes a sequence land in the source side, instead of on the timeline.

Does something like that exist, btw?

Chris Conlee

[Chris Conlee]

Yikes! Is this true? I just did a RED show in Avid and had to sync all the dailies. Seemless and relatively painless, given that Avid lets you create a new master clip from your synched Audio and Video clips.

Is it true the only way we can do it in Premiere Pro is to make a nested sequence? Which will no longer load with a double-click into the source monitor? That’s a big downer. I was excited by Premiere’s ability to work with Red footage natively (Huge plus!), but it’s quite outweighed by seeming lack of proper tools to sync dailies…

If I’m wrong, somebody please point me in the right direction.

Chris Conlee

[Chris Conlee]

I’m relatively new to CS4 and I’m actually trying to figure out how to sync dailies even manually. Once I have a video and audio clip synchronized on the timeline, can I somehow make a new master clip of the synched footage and put it in a bin somewhere? How do I do this?

Chris