Matt Lyon
Forum Replies Created
-
You are seeing a difference because 23.976 isn’t true “clock time.” When you switch to the “audio time units” display, Premiere is now showing you the true “clock time” of your sequence.
Think of it as the the same principle as 29.97 non-drop frame timecode vs 29.97 drop frame. Unfortunately there is no 23.98 drop-frame timecode equivalent. I like to use http://www.bodenzord.com/timecode-converter to calculate the true sequence run time of my 23.98 timelines.
-
My experience with the the Blackmagic breakout boxes is that the drivers can be very finicky with Avid. In the past, I’ve had to download and test multiple versions of their driver to find one that played nicely with my OS/Avid version combination. The “delay when stopping and starting and moving” sounds like the same issue I had. The solution for me was to use an older version of their driver (aka “Blackmagic Desktop Video”). My suggestion is to start with the first version of the driver that initially supported your OS (check the “read more” link on the download page to see about OS support). I haven’t used the Ultrastudio Mini myself, but I’ve heard good things, so I hope you can get it to work. Another idea: disconnect any other external devices when you are testing, just to make sure they aren’t interfering in some way.
-
Fellow CCE member too 🙂 I bet we have lots of mutual acquaintances. Have a great weekend too!
-
Hey Trevor, you can do this using the “adjust pan/vol on tracks – in/out” command in the hamburger menu on the top right of the audio mixer tool. You can map the command to a keyboard shortcut, although I believe in older versions of Media Composer this wasn’t possible. If you don’t have an in/out set in the timeline, I believe the change will affect the entire selected track(s).
Hope this helps,
Matt
-
Hi Luke, I would start by fully reading Sofi Marshall’s article on merge clips vs multicam:
https://blog.frame.io/2018/05/14/how-to-batch-sync-audio-in-premiere-pro/
How you choose to cut is highly personal, but I prefer to set up Premiere as close to AVID as possible. In other words, using a bin-based, source/record workflow for assembly, and trim mode for polishing. I would strongly recommend against just throwing your picture and sound in a bunch of sequences. It will only lead to headaches, imho (how will you know if something gets knocked out of sync, for one?)
When I cut, I like to carry all the audio tracks, disabling the ones I don’t need (but not deleting). Then everything gets enabled before I send an AAF to post sound. Since there is no audio fidelity lost, the sound team can work directly with my exported audio, only conforming back to source if absolutely needed.
Editing with so many audio tracks does not slow me down, but that’s because I’ve gotten used to it. You might struggle for a few days or weeks, but after a bit of practice, it should become second nature. Learn all the keyboard shortcuts for track height adjustment 🙂
You can also sync your rushes as described in the article, but then only lay down one track of audio (usually the “mix” track) when you assemble. It’ll make for a lighter timeline, but you’ll have to make sure the sound team can conform your timeline back to source, OR you’ll have to matchframe all your edits and overwrite the audio with the full complement of audio tracks before you do your handoff.
Just my two cents … in the end you have to do what works for you.
-Matt
-
Mocha Pro has a “remove object” module that I’ve seen give great results.
-
The built in tools in Premiere won’t do what you are trying to achieve. I’ve gotten decent results with Re:vision Effects ReelSmart Motion Blur:
If memory serves, DaVinci Resolve also has a built in fake motion blur plugin that you could try (and it’s free).
-
I tried a test on my machine and it doesn’t appear that importing OMFs is possible. You should ask your engineer to send the edit as an AAF, with non-embedded media (assuming they are sending media as well). He should also enable “quantize edits to Frame Boundaries” in the export options, so you don’t get clips with NLE unfriendly lengths.
-
You aren’t going crazy. The UI design is a bit confusing. The gain slider is right next to the VU meter. The “Output Gain” setting is displayed below, “Gain: 0 db”. The numbers listed on the VU meter are just the output level readout, they have nothing to do with the Gain slider. It would be less confusing if there was no Output Gain slider at all, and just a numerical input.
-
It will work, but you need to apply a “Transform” filter to the adjustment layer, and make the scale adjustments there. Simply changing the scaling property of the adjustment layer won’t affect the clips beneath it.