Mike Kelland
Forum Replies Created
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That’s a strange spec sheet they’ve given you.
With one like that I’d do everything with standard tracks. Music etc will be in stereo and interviews etc will be mono, no matter which timeline track you have them on. And you don’t need to worry about panning.
In the track mixer I’d then leave all the pan pots in the middle, as it’s stereo pairs you need for your specs i.e. 1&2, 7&8 etc. Then as John said you just click the bow tie icon depending on which stereo pair you want to monitor to check it’s ok.
To check the end file I usually import it in Premiere and interpret as stereo pairs and play that in a new timeline to see if stereo and all the channels are working properly.
If they wanted something trickier like narration on 7 and interviews on 8 then you’d do a ‘send’ in the track mixer for each of those tracks to 2 x submixes that are both outputting to 7&8. One submix you’d pan left (ch7) and the other you’d pan right (ch8).
Cheers,
Mike -
I gave 2019 a test drive by opening a copy of a 2018 project. I couldn’t get a 4K ProResHQ clip to play without terrible lag. Proxies lagged too. Exporting a 13 minute timeline to ProResHQ said it was going to take an hour and a half…! (Normally around the 7 minute mark in 2018).
Revert now to 2018 and save yourself the time – the lag is in the release, it’s not just you ☺
It might work with a project starting from scratch in 2019… but that’s not going to help you.
In the real world we need to open old projects in new versions of Premiere… the alternative is
to have many versions of the programme on your system and remember which one applies
to each old project – not ideal at all. Surely Adobe can find a way to reliably update old projects
to new Pr versions?Anyway this technique will revert your existing 2019 project to 2018 or earlier:
https://www.youtube.com/watch?v=ZJO4PlHASIs
Cheers,
Mike
MacPro 2013, MacOSX 10.12, D700, 32GB RAM, Promise Pegasus2 raid
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Hi Daniel,
Use the burn-in timecode feature in the export window – that will burn your sequence timecode onto your clip.
Until you get AAF sorted resort to an OMF export for APP. That will be 100% reliable.
Are you setting the ‘start time’ of your sequence properly?
re. other issue – There is a icon at the top left of your timeline window that is the same as the sequence icon but with a slash through it. Turn that off when you drag a sequence or multiclip into another sequence to bring in the original clips.
Hope that’s of some help to your questions – unsure of exactly what you’re describing,
Cheers,
Mike -
You could try export a ProResHQ of your 24fps film – import that file – right click and re-interpret frame rate to 23.976 – the file now thinks it’s a 23.976 clip, it should look and sound fine. Drag the clip to a new 23.976 sequence – set in and out and export a ProRes or MPEG2 etc for a 23.976 BluRay project.
Cheers
Mike
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In reference to the duplicated clips when importing sequences etc via Media Browser – I agree it’s really frustrating – but I’ve found that if each Project (the one you’re importing from and the one you’re importing to) have the exact same bin naming and structure then the Premiere realises the clip is already there and doesn’t bring it in a duplicate. Any difference though, even caps instead of lower case, then it brings in another instance of your clip. This can get out of hand quickly on a long form doco.
You might already know, but another thing to be aware of for logging is that to preserve clip markers make sure ‘Write clip markers to XMP’ in the Media preferences is un-ticked. Otherwise all the markers you put on clips will only be seen in your project and won’t be seen by another editor if they re-link the media to their duplicate drive. Un-ticking that option makes sure the info goes with the project file.
Cheers,
Mike
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Hi Merlin,
I’m having the exact same issue, only since the last update to 2017.1.2. It’s bloody annoying.
Happens in simple and less simple projects – 1080p ProRes footage, 1080P C300 footage, 4K FS7 footage etc.
Random 2-5sec beach balling when doing various mundane stuff – adjusting rubber bands, selecting a clip, changing to pen tool etc.
Only time I’ve seen this before is on the 1st time during the day that I import an item into the project (happens for me in all Pr versions)
Running 10.12.5 on nMP 2013 D700 32GB RAM, Pegasus2 thunderbolt raid – using Open CL
Blackmagic UtraStudio Express with latest driver.We can’t be the only ones out there seeing this issue…?
Cheers,
Mike
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In the past I’ve selected all audio and video in the project bin – then right click to make ‘multi-camera source sequences’. Once that’s done its thing (pretty quick when using TC as the sync) then sort in the bin using type – then drag all the multicam sequences to the timeline with the individual clips/sequences icon turned off (to the left of the magnet icon in the timeline). Then you just sort the empty audio and video tracks as you’ll be 20 deep in some places. Worked pretty fast for me, and means you have the original media in your timeline rather than a merged clip or subclip.
Cheers,
Mike
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Thanks Jeff ☺
I reported the bug a year ago, and phoned tech support – it’s just Peter and I seeing it maybe, so it goes to the bottom of the pile…
Maybe someone from Adobe is reading this and can help.
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Hi Jeff,
Yes, that’s the work around I’ve been using in the meantime – export a new audio file or send to audition etc. It would be nice to not have to do that though ☺
Reasons for doing it: where you have a lot of clips where the lav mic was recorded with a digital receiver with latency and you need to fix it to match the boom mic, matching a soundies audio file to be in sync with the camera audio if it’s half a frame off, back-timing a music cue (taking out a verse for e.g.) and needing to slip by a subframe amount to get the beat right… the list goes on.
Or do you mean the reason I’m moving the clip? – by that I mean just normal timeline editing, moving the whole clip around the timeline. Nudging one frame is enough to undo the subframe audio slip.
It goes back to whether Adobe can reproduce this issue and whether it is a bug or not. If it’s not a bug then they should put in the manual to export a new audio clip after sub-frame adjustments.
Cheers,
Mike
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Hi Jeff,
Thanks – I think it’s a separate issue though – what happening with us is we move/slip the audio by a subframe amount but then this action is undone as soon as you move the clip on the timeline.
If I move by subframe and then razor on the frame (back in frame mode) the audio (and it’s waveform) reverts back to where it was before the move.
A way to test it is to find a video clip with lav mic and boom mic in perfect sync – switch to audio time units and slip one channel by half a frame, play it and you’ll hear it echo. Now switch out of audio time units mode and then move the clip in the timeline and then play it again. It’ll sound exactly as it was before you started – the half frame slip is undone.
Cheers,
Mike