[Ht Davis]

Remember this:

The types of keys, and gradual variation between them can span a large vertical, as well as horizontal area. As such, there is a minimum display size set to prevent inaccuracy. IF your screen isn’t big enough for this, try attaching a second screen and moving some of your panels over to it. Keep your sequence panel on it’s own and expand as much as needed to see them. The second screen wouldn’t need to be very big, and it could have a low resolution, so it wouldn’t tax your GFX processing. I use a 50 inch TV, and put my sequence on that… It’s great for syncronizing audio…

[Ht Davis]

Frame RATE MODE: VARIABLE = in camera VFR, most likely a stabilizer.

Stabilizer is automatic. No setting for it.

VBR or Variable Bit RATE is a data standard. It has little relevance in sync. It corresponds to the compression method, not the actual photographic properties.

EG.
I can record a video on a film camera at any frame rate and as long as that rate remains constant, the sound that goes with it will sync up just fine. If I change the frame rate while shooting, and the sound is still recording at the same rate it was at the start, they will fall out of sync. I have 2 choices in analogue edits… …try and apply my own soundtrack or stretch\squeeze the sound as needed (speed up slow down).

In digital, there are mechanisms that will drop a frame or two based on the motion of the camera or the scene. Check your specs again. It may be a built in stabilizer. It will drop frames or speed up and add frames per seccond in order to remove the camera shake. This can be based on an accelerometer (the better way usually) or an estimation from the edges of the frame (which could be moving due to actually being on some kind of vehicle. Most often, it drops frames. When storing digital video, the files can get really big, so the images for the frames are COMPRESSED. Most of the time this loses some quality, as the images are, themselves, jpeg (by design a compressed image format). There are frames that are stored fully, and then other frames are compared, and the changes are stored, the rest dropped. The calculation for tracking those changes defines how much data each second of video will take up (the Data or BIT rate). A constant measure of data will force some frames to have better quality than others. A variable bit rate keeps the quality, but drops varying amounts of information. If your camera records at a VARIABLE BIT RATE, it is a STANDARD PROSUMER GRADE VIDEO CAMERA! Truly proffesional level cameras also have a VBR, but they don’t compress the footage… …it gets huge enough to require hard drives of hundreds of gb.

[Ht Davis]

Open audio in audition, save as .MOV sound only or similar for your system. You’ll see why in a minute.

Send that saved file to AME and select to export video as well as audio to the same file format, and set all audio the same but give video a small blank (set the video size to your main sequence size first, then link the size and drop the resolution as much as possible for quick rendering). This will give you a blank video with your audio.

In premiere, open the blank and your edited video (hopefully you’ve already output this to a clip). If it’s in a multicam already, and syncronized… …gasp!… …you can syncronize your blank video in the multicam sequence with any other clip (plural eyes on cs6 and below)!
Or if you have a clip already, you can sync the two with the audio sync function (plural eyes on CS6).

Do you know how to multicam your audio?
alt\option right click audio track in the nested sequence, select multicam enable. Dupe audio trak to make as many traks as there are sources(“cameras”; corresponds to video trak number your audio trak is linked to in your syncronized sequence), and set each track to a different “Camera”. You can now have the audio you want by selecting it. Pick a clipping in the video, go to the multicam monitor and select the audio by trak (this corresponds to the trak numbers of your nested sequence, not the original sync sequence). If you want a single audio track for all, turn on all tracks in your sync sequence, then in the nest, do the audio multicam, and select the audio “camera” of your blank video track (the camera corresponds to the video trak number linked to the audio you want).

[Ht Davis]

Was that premiere pro cs6? If so, you are trying to dynamically link across versions. It only works when you link to encore cs6. Your media encoder looks like cc. Not fully compatible with cs6.
Try this… save your project, and, if you have CC version of premiere, open it with that. Export from there. If not… …you may have to export through premiere itself. Just click export. There is an option to have all exports be sent to AME in preferences. Make sure you select this in preferences, then just select export. If this closes the window, wait for AME to open. If it doesn’t, it is the compatibility issue. If you are in CC across both, you may need to reinstall them, or just check your drive for errors (run a disk check). Clean the media cache database as well. It can get pretty big over time, and it has limits. Dump the whole thing once in a while. It is used heavily in dynamic link.

[Ht Davis]

On camera, no. But in computer playback, try VLC and show the inspector, and frame rates.

Alternatively, let premiere pro show you where frames are dropped (it will detect them as they are marked in the original stream, and will show you them by color coding the preview render notifier bar).

Other than that, I haven’t seen any direct utility that will detect it and do something about it (asking you if you want to blend the frames and output a new file). I simply accept that there are both technological and human factors that can create this problem; and I work around it by treating every video as suspect, even my own. I transcode every ingest.

Sync problems can also occur due to clock problems in cameras. SO to account for it, I always capture a mid-line audio source (something right in the middle of the whole scene if possible). It helps to have a single clock to rely on that oscillates at 48 or 96 thousand beats per second (any inconsistent beats are such a small increment that it’s extremely improbable for any human to notice). Aligning by sound is more likely to find common points if your mid-line is double or triple the rate of your camera audio.

[Ht Davis]

While I agree that those links are helpful in some respect, I think they miss the problem he is having. I’ve heard of this happening with some macs and even windows is seeing this pop up. The problem stems from certain necessary linkage processes being closed or frozen. I’ve seen it in cs6- current btw ae and ppro, ppro and encore, Photoshop and any of the others. Adobe opens necessary reader routines when linking, however it opens those same readers when running the program itself. The problem occurs because of sand boxing of each instance of that reader. Close the app, lose the link, even if the reader is available.

I’ve narrowed down the behavior further. When your media cache is on a drive other than the default location, it can tangle things up a bit. If two apps place media caches in different locations this is even worse. The cache is accessible by system ID (memory allocation), user ID (can execute), process ID (the program that created it has full access). Leaving caches in default locations may fix the problem on many machines (some have reported success), but I believe there is a combination of factors that can compound the problem, like the file system of where you place your files and how well it it is handled by your os.

Try running disk check and repair. Also note the formats you’re mixing (video formats). Some work well in ae but don’t pass well through dynamic link(I’ve had this issue with older 32bit codecs on 64bit machines). Some require precomposing before linking to make a preview available to premier as well as an original file.

For best result, drag clips or sequences to ae, uniquely name comps, and drag comps (precomped or not) to premiere, save ae, save premiere, close premiere, close ae. The reopen premiere and see what happens. This bypasses sandboxing of reader/communicater and uses the opened program’s reader to pass it along instead of opening a second reader in each program (I checked with process monitors), and reopening works fine (relinking too).

[Ht Davis]

F4V isn’t a standard stream video. IT’s a wrapper around a standard stream. Encore produces this file when you set it. IT’s basically the new “Digital DVD” or “WebDVD”. It allows most of the DVD functions and chapters, but also allows web links. It runs JAVA. As a stand alone file… …players will play it, but editors don’t like it, the same way they don’t like VideoTS folders with macrovision.

Export with AME and extract the file within to a format you can edit.

[Ht Davis]

Not shown in broadcast options, but you can create your own preset, and choose quicktime. Compressor will do a blend if you force the frame rate setting in video options (no auto setting). If you want pro-res, you may have to download it from the adobe site for media encoder. If you are using older compressor, use the cs6 presets, newer compressor, use the CC presets from the site. I’ve done both. It will show up under broadcast afterward.

[Ht Davis]

Here’s what I see happening:
you are duping a clip linked to a file in your project panel. The original and the dupe point to the same file in the panel and get their info from that file. Every clip in a timeline has an original file linked to it (a linkage modifier that points to the file on disk or an image made in the program like a title). THIS IS NOT A BUG. You dupe the title in the timeline when you want it to play again or longer (you just duplicated a clip, genius, not a file). You dupe the title in the project panel when you want the same style etc, but maybe a different message or duration. You can then edit that new title, and drag it to your timeline as a new title, a new clip, a new file.

IF you want to make titles quickly:
Using a word document, type the lines as you want them to appear, bear in mind the size of your screen. When you want to go to a new title, place a section break. Leave a hard return above the titles and below.
Save the doc and open indesign, create a document the size of your video frame. You should be able to import your titles from that word doc. Go to the master, set your style, type-face, font etc. Set this as a layer all its own and call it text. Make a new layer below that one called background and fill it with 50% grey, telling the program not to print it (it will be an alpha channel, invisible). Apply the master to your pages. Boom. Done. Export the entirety to a PNG with alpha, at your desired resolution, and place in a special folder named titles, give them a -0 at the end of the name you enter. They will all be numbered, but you may want to add a 1 to the end of the name on the first one (it doesn’t write the “1” for you on some systems). Now drag the whole folder into your premiere project. You now have all your titles.

Stop calling a cherished function a bug.

[Ht Davis]

In FCP7, when live capturing, you were able to edit the output stream because it was already in the same project. Essentially, it knew how to handle that, knew the file was still open and was making edits in the cache areas as separate ops without interfering with one another.

Premiere uses the same cache areas unfortunately. Both ops access the same media in the cache which is updated as the file grows. From what I’ve seen, this causes short hiccups. IF you refresh the file at longer intervals, you might have time to edit. Other than that… …You might try the new FCPX for this function. Or just use markers and use a hotkey to place them.

If the playback of the highlights is time sensitive, you might try a proxy or h264 format. Both will play back fast. If you use markers to capture the highlight points (begin and end), you should see a difference.

I’m not certain if this would work… …What if placed your markers outside of the sequence? In the clip itself? You could use the source monitor. I’m wondering if the sequence update is your hiccup. Try using only the source monitor with the actual clip, and place markers using a hotkey. Then place cuts at those markers quickly by using the time codes of the markers from the source panel. If the source autoupdates without having to conform to a sequence you might lose that hiccup. Just a thought.