[Les Candle]

Found solution. Right clicked on each and every clip in the sequence where audio was flat lined, and chose ‘audio channels’.

It was set to ‘none’.

Changed it to ‘channel 1’.

Note: this all worked perfectly before I saved it.

Possibly this was related to copying and pasting a sequence from another project.

This time when I saved, closed and re-opened, my audio was back.

But … this is definitely a bug.

[Les Candle]

Paul – unfortunately, when you change the duration of the clip like that, it changes the out point.

I even tried reversing the clip (to hopefully make the out point the in point), and CS6 insists on keeping the out point before the clip was reversed.

I can however, drag from the left side to shorten the clip without changing the out point. But, as there’s no visible indication (maybe I’m missing it) of the clip length, it’s a bit of a pain to trim to an exact number of frames.

For changing a freeze frame clip that begins at the in point, your technique works perfectly.

Using you suggestion of a copy (for in and out) saves the hassle of making a subClip!!! I’d thought that a copy when changed, would change the in/out of the original (glad I was mistaken).

One other issue: If I used a subClip, I could drop a ‘dip to black’ transition on the areas between the 12 frame clips.

I can’t do that with the copies for some reason?

Is there a workaround?

[Les Candle]

Paul – unfortunately, when you change the duration of the clip like that, it changes the out point.

I even tried reversing the clip (to hopefully make the out point the in point), and CS6 insists on keeping the out point before the clip was reversed.

I can however, drag from the left side to shorten the clip without changing the out point. But, as there’s no visible indication (maybe I’m missing it) of the clip length, it’s a bit of a pain to trim to an exact number of frames.

For changing a freeze frame clip that begins at the in point, your technique works perfectly.

Using you suggestion of a copy (for in and out) saves the hassle of making a subClip!!! I’d thought that a copy when changed, would change the in/out of the original (glad I was mistaken).

[Les Candle]

Jim – that’s what I’d done, but I was hoping for a faster more flexible workflow.

What if I could copy and paste the clip back into the timeline twice. Once for the 12 frame freeze at the beginning, and once for the freeze at the end.

I’d only need to get the ‘frame hold’ command to work at the out point – which I cannot figure how to accomplish for some reason as it always holds at the ‘in’ point of the clip no matter which option (in or out) that I choose?

Any idea on why I’m having such a problem with a hold on the out point?

And is there a simple way to extend a clip by exactly x number of frames (or if I get my idea above working, to quickly set the length to x number of frames)?

[Les Candle]

FiLMiC Pro (from that article) was used to record it at 23.976.

Must be some ‘magic’ from Apple that does the variable frame rates in spite of that.

I’ll make a suggestion to Adobe.

[Les Candle]

Here’s how I resolved my problem:

My CS6 is installed on Win7-64, so using a QT reference is not workable.

I tried that with FCP7 (using a ref created in QT), and it was out of synch, so I doubt that this reference movie would work in Premiere on OS X.

Using a self contained ‘save as’ was also out of synch in FCP7.

I had to export as ProRes 422 23.976 (to preserve the lousy quality of the iPhone) so that it would play without synch issues in FCP7 (also in Premiere on Win7).

I would be nice if CS7 would deal with variable frame rate files without loosing synch.

[Les Candle]

I’d heard that FilMic had been used at the Zacuto shootout when comparing camera such as ARRI and RED to deal with the iPhone footage, so I assumed it would be pretty capable.

I’m surprised there’s no non-variable frame rate option, but … I could have overlooked it.

I don’t use an iPhone (again boycotting anything Apple), so I don’t have an easy way to test (I wasn’t even there when the footage was shot).

I did try your mpg suggestion, and that did not work.

I’ll be forced to use an Apple product to fix the Apple generate H.264.

[Les Candle]

Yes, it looks like a variable frame rate.

After Apple killed FCP, I switched to Win7, so Premiere is on Win7-64 and I can’t use a ref movie in Premiere.

I’ll see if I can edit it in FCP7 and output a ProRes file that I can use on Win7 with Premiere.

Some other links seem to indicate that will be possible.

[Les Candle]

Dustin – did you come up with a SynthEyes solution?

What you seem to want is the technique they used for ‘Girl with the Dragon Tattoo’. Stabilized with SynthEyes data in AE (I think for a lot of the car footage).

https://www.creativeplanetnetwork.com/node/16615

I’m investigating this myself now. I shoot with a RED camera and don’t want to render in SynthEyes, but only for final output. It’s been suggested that I:

“Export camera movement both with, and without the stabilization, import both solutions into 3d package, and (trying to be nonspecific to a program here) parent a plane with the footage on it to the unstabilized camera, and use the stabilized camera as your main camera.”

So, curious if you’ve had any luck with this and gotten down the learning curve a bit??

Thanks!

[Les Candle]

Dave –

1. is that Quicktime read-only add-on going to work on Win7-64?

2. When I output, what’s a quality equivalent codec to ProRes HQ 422 that I can also read on a Mac? I except I’ll be going back and forth quite a bit.

Thanks, Les