[Ken Pugh]

Thanks for both these replies – I’m using interlaced footage – and to make matters worse, some of the clips are being re-sized…. however Motion still does a smoother job. I’ve been looking for a way to manipulate the tracks, and average them out, as this felt it could be a solution – sounds like Mocha might be perfect, I’ll explore this further, and check out the tutorial.

Many thanks, Ken.

[Ken Pugh]

There is no AVID support for the LHe, does this mean AJA have dropped support for Adobe products now as well?

Ken.

[Ken Pugh]

>The convenience of not having to drag tiny key frames in your timeline, or having to load every clip into a viewer is a nobrainer.

I’ve never had to do this in FCP, unless I wanted to, perhaps to do detailed work like fix transient peaks etc. otherwise I write audio changes direct into multiple clips simultaneously while playing the timeline – using the mixer, and an optional external Mackie mixing desk with flying faders that drop into record when you touch the faders, and drop out of record when you let go, picking up with the existing mix. Believe me if you’ve not mixed audio this way you’ve not lived! (relatively speaking). Doing mixes manually on a clip by clip basis now seems like torture.

Then if I move a bunch of clips to a new place on the timeline, the mix goes with them. That’s essentially the kind of functionality I’m personally looking for in PPro. Track based or not.

Best, Ken.

[Ken Pugh]

> I may be misunderstanding, but from what I’ve seen, individual clip volume can be adjusted–just not from the mixer.

Yes, but I haven’t yet found a way of doing this through the keyboard with a single command, as in FCP. Maybe this has changed with 6.

> So a combination is the most powerful and the important issue is that the trackbased automation can easily stick and move with clips. The ease of moving track based automation with a clip is the key.

Agreed. Could an alternative be that the clips have more than one layer of audio modification? So layer one is flat (but with volume edits for peaks or whatever), then layer two is the same, but also adds dips for a language version etc… then these audio layers are assigned to the sub mixes that require them. The sub-mixes then become stems, or English version, French version etc. The programme tracks remain to handle plug-ins, like compression (although sometimes it’s useful to be able to apply plugins on a clip basis as well). I too greatly miss the flexibility of sub-mixes from my M100 days.

Best, Ken.

[Ken Pugh]

Track based effects are very useful, but for me, track based volume changes are useless, as I find I edit picture and mix audio concurrently, right up to delivery.

To avoid the horror of ramping and dipping audio with a pen tool and nodes (unless fixing spikes etc.), automated changes either with an external mixer or the inbuilt faders are essential. And for this to be useful, volume changes need to be written into the clip files. Otherwise a remix is necessary every time audio is moved.

I can’t see how moving track based volume automation ‘in sync’ with clips could be a viable solution either, as clips can change tracks, depending on how the audio overlaps when placed in new positions. I could imagine sudden volume changes being an issue too.

A method of writing track volume changes into clips would work, but this is no different to mixing clip volume directly. When do you ever need to mix the silence between the clips?

Having spent the last 5 years or so mixing multiple audio ‘tracks’ real time with FCP, in my case with a Mackie Control Surface, I really do not want to go back to endless fiddling with node based audio changes and early onset RSI.

For my workflow at least, this is still a major flaw with PPro, and the only thing stopping me adopt it wholeheartedly.

Belatedly, Ken.

[Ken Pugh]

Thanks Ryan. After posting I did wonder whether using FCP as an intermediate step would work.

Good to know I won’t have to leave Color behind until I’m ready.

Cheers, Ken.

[Ken Pugh]

Well, I’m a lazy B**stard. And I’m not so adept at Premiere Pro – but in the spirit of scientific enquiry…

Exported out of Premiere (5.5) as xml. Imported into Color – nothing – just an empty timeline. Doesn’t bode well, but is this a common experience, maybe I have some setting incorrectly set? xml flavour maybe? Or maybe it’s time to move on to DaVinci where others I read have been more successful.

Best, Ken.

[Ken Pugh]

Great, Thanks!

[Ken Pugh]

Sorry typing on an iPhone with thumb!. Was making observation that in Dave’s scenario dynamic link doesn’t help much. He could do same thing starting in AE then dropping comp direct into pp. you could do same with an apple motion project – direct into pp. where dynamic link really scores is its ability to export a complex pp track assemby to AE . The import thing is not such a big deal For me. In fact I prefer to render in AE as I have more Control I have had problems rendering in pp. I place the render on the track above the dynamic link .

[Ken Pugh]

But isn’t this essentially the same as you can do with motion as I mentioned below – for me the major and unique benefit of dynamic link is being able to send complex track arrangements from PP to AE

Best, ken