[Herb Sevush]

There is no direct way to do this. There is a wacky work around that you can find on YouTube:

https://www.youtube.com/watch?v=JsGVk6XIMFY

There is also a hardware controller, Monogram Creative Console, that has a shortcut key that works for this in Premiere ( I use it.)

https://monogramcc.com

But the Lords of Adobe have neglected to implement this no matter how often I put it in as a feature request (and I have, many times.) If you would like to add your voice to the choir you can do it here:

https://adobe-video.uservoice.com/forums/911233-premiere-pro

Some contents or functionalities here are not available due to your cookie preferences!

This happens because the functionality/content marked as “Google Youtube” uses cookies that you choosed to keep disabled. In order to view this content or use this functionality, please enable cookies: click here to open your cookie preferences.

[Herb Sevush]

To monitor LKFS you need to use the Loudness Radar or if you are up to date with the latest Pro version, the Loudness Meter. To use either you need to open the Audio Track Mixer:

Go To “Window”

Choose “Audio Track Mixer”

With the mixer open , right under the label “Audio Track Mixer: “at the very top left of the mixer panel there is a tiny scroll down marker “>” – click it and you will see the effects strips for the mixer. Go to the blank strip at the top of the “Mix” channel and click it. A list will open and choose “Special.” On it will be both Loudness Meter and Radar – they both do the same thing in slightly different ways.

In either case click on the Device name in the mixer and a new interface will pop up. Go to the settings tab and choose the preset “ATSC A/85 LKFS” — it should be the default in both. If you want to set the “Peak Indicator” to -6 (the preset default is -2) this is where you do it.

Now go to the other tab (“levels” or “radar” depending on which you chose) and you are ready to monitor. Playback you program and you will see your loudness settings. The loudness will constantly update as you playback, You need to be between -22 to -26 for your client. On the radar it’s the LKFS number, on the meter it’s the “Integrated” number.

[Herb Sevush]

No matter what the format of your audio, MP4, MXF,WAV etc, if the audio sounds good in one timeline, it should sound good in any timeline, include Multicam timelines — which are a special type of nested timeline. You can, of course, flatten the Multicam audio clip once it’s edited into another timeline, and then your original, non-fuzzy, audio will replace the Multicam audio.

In order to try and diagnose your problem my first question would be — how did you create your Multicam sources ? If you used the “create Multicam Source Sequence” command within Pro (which I strongly recommend as the best option) then the choice of Audio setups within the Multicam menu becomes very important. If you didn’t chose this method for creating your Multicam sources than I would suggest trying that as your next option. If you did chose this method than I would ask which of the Audio setup options you chose?

[Herb Sevush]

5.5 million downloads, maybe, but 5.5 million users ?? This is what happens with free software, you get a download to user ratio that can run to 100 -1 or greater. I downloaded lightworks to fool around with several years ago but I’ve never used it, so I qualify as a “user.”

[Herb Sevush]

Try creating a new blank project and then with that project still open, open the project you want to work on. I’ve had to do this ever since PP 15 released. If this works, then save the blank project and always open it first whenever you want to re-open PPro.

[Herb Sevush]

Nest the clip with the speed change.

[Herb Sevush]

Interesting to hear how your adapting Bill, plus I haven’t seen the verb “to grok” used in this millennium and I thought it very sweet.

[Herb Sevush]

Couldn’t agree more. Whenever someone is hyping a Podcast I ask them “but where are the pictures?”

[Herb Sevush]

If the clips you are copying key frames between are different lengths the normal “paste” technique will by default scale them, this can lengthen effects when going to longer clips and also shorten them when going to shorter clips. If you want to keep the exact timing, when the “Paste Attributes” window comes up, deselect the checkbox in the upper left that controls “scale the effect.”

[Herb Sevush]

Also, there is no noise with the OWC and I’m using Samsung SSDs.