[Jarle Leirpoll]

I’ve read that article before, and I re-read it now – but I still haven’t been able to figure out a way to do this. All the methods I’ve seen use markers or keyframes, which is not an option in this template.

Thank you so much for sharing all the info on expressions, BTW. Your site is still the reference for all things related to expressions!

Jarle Leirpoll
PremierePro.net

[Jarle Leirpoll]

No, I’m not animating the frame rate. Sorry, “frameRate” was a bad choice of variable name. Naming it “changeRate” would have been better. I’m animating the frequency of word changes (after an initial delay) so that it can be constant (like 1 or 2 words per second) or ramp up from 1 word per second to 30 words per second – or any other numbers the user wants.

So the code you offered worked really well, in the sense that it triggers a sound at every word change, which is what I asked for. But since it’s done with Time Remapping, it also changes the speed and pitch of the sound. I need the sound to play at normal speed.

So I’m thinking that it’s probably best to use several duplicates of the audio clip. But I have no idea how such a code would look.

Jarle Leirpoll
PremierePro.net

[Jarle Leirpoll]

Thanks Dan – this works!

But now I’m getting a problem that I somehow failed to predict: The audio plays faster when I increase the ramping. I need it to play at normal speed. I guess that’s not possible with just one clip?

One solution might be to duplicate the audio clip as many times as the maximum allowed number of words, which means maybe 50 times – and let each one get a slightly different expression (or maybe use index?) that plays the clip at normal speed, when a word change happens.

1. Would this (many layers with expressions) slow down the project a lot? (The sound clip is very short)
2. What kind of expression would do this?

Sorry for all the questions – my brain has a problem with time expressions. 🙂

Jarle Leirpoll
PremierePro.net

[Jarle Leirpoll]

This is what happens if you have sequence settings that differ from the source settings. If you have 24p footage in a 29.97 sequence, Premiere needs to duplicate some frames. When you’ve rendered the sequence, the problem will show.

This happens in two scenarios.

1. You’ve manually chosen the wrong frame rate when making the sequence
2. Your Premiere Pro installation is not properly activated, and you’re missing a lot of sequence settings. When you make a new sequence automatically in Premiere (or let Premiere choose settings) the right settings are not available, and Premiere uses one of the other ones.

See https://helpx.adobe.com/premiere-pro/kb/features-presets-missing-premiere-pro.html for a solution to the problem.

Jarle Leirpoll
PremierePro.net

[Jarle Leirpoll]

You should have at least 2GB RAM per core to avoid “traffic jam” in the processors. 3GB per core is better. Many cores starved for RAM can be slower than fewer cores with enough RAM!

For maximum performance with the built-in, accelerated effects, use an approved card from this list: https://www.adobe.com/products/premiere/tech-specs.html

Be aware that accelerated “effects” also include Color Correction, Scaling (also on export), Frame Rate conversion, Field Order conversion, Slo-mo, Pulldown and other under-the-hood stuff. So an approved card will speed up just about any project.

Jarle Leirpoll
PremierePro.net

[Jarle Leirpoll]

Aha! MOV wrapper is a bad thing.

HDV is MPEG, and should be stored as MPEG files. FCP does wrap it in MOV just because, well – it has to. When Premiere imports a .MOV file with MPEG, it uses the 32-bit QuickTime importer (from Apple). Bad things can happen because Apple doesn’t want PC users to have much fun. If Premiere imports an .MPEG file on the other hand, it will use its own built-in 64-bit MPEG-importer. Good things will happen.

Just so others can learn from your experience; Could you try renaming a few of the files from .MOV to .MPG and re-import and see if that magically restores the super-whites?

[Jarle Leirpoll]

That explains a lot. 🙂

When someone’s already clipped the superwhites, Premiere will not magically bring them back. 🙂 But the HDV issue is not caused by the same thing, right? You are capturing the clips in Premiere and getting MPG-files? Or are they wrapped in a MOV because they were captured in another piece of software?

Just had to ask. 🙂

[Jarle Leirpoll]

Sorry, I meant the BlackMagic card – not Matrox.

[Jarle Leirpoll]

If you’ve “hacked” the card, that is not the cause of the problem. CUDA is either on or off. Nothing in between. I use a lot of XDCAM-EX material, and my superwhites are retained all through the chain. But I don’t have a third-party card attached – I’m using a DreamColor monitor via 10-bit DisplayPort connection.

So the problem doesn’t seem to lie in the software or the output from the software. I would guess it’s the Matrox card that’s doing the clipping. Hope you find out what’s wrong. Good luck!

[Jarle Leirpoll]

Mike, if you’re losing super-whites, you’re working in 8-bit mode instead of 32-bit mode. If you have an approved graphics card, all of the calculations will happen in 32-bit float. If you don’t, the software mode defaults to 8-bit. You can change that to “Max Bit Depth” in Sequence settings. Go here for a list of compatible cards:
https://www.adobe.com/products/premiere/tech-specs.html

If you’re actually working in 32-bit, and still losing overbrights, you’re blocking the 32-bit-ness with an 8-bit effect.

Also make sure you’re actually losing overbrights, not just missing them on the scopes. The scopes are always rendered in software (and therefore 8-bit), and will show clipping even though no clipping is happening in 32-bit.

Read all about color correction and grading in Premiere Pro here: https://premierepro.net/editing/chapter-on-color-grading-in-premiere/