[Nina Lucia]

Thanks for your reply Oliver!

There is a way to alter a file that will allow an older version of Premiere to open newer projects. I don’t remember how I did it now, but I Googled and found info on how to do it.

The film was shot anamorphic, with the frame meant to be 2578×2160. Making a sequence with that setting fits the framing chart the DP shot perfectly, so I think I’ll go with that. I copied the original sequence into it by selecting all clips and pasting and it seems to be good to go. If they need to fit it into a 16×9 frame the online editor can add a matte.

So the issue I’m left with is two days of dailies that are now using the proxy files and not the camera original files.

I used the ‘Scale to Frame Size’, so I took the resizing off the problem clips and then used ‘Scale to Frame Size’ and that gets me with a timeline with the clips all at the right size with no resizing on them in the ‘Effect Control’ panel. So I’m wondering if this will be fine for later when they need to be relinked to the original camera files by the online editor with an AAF (or whatever Premiere makes) that I give them. I don’t know what will be used for online/color, I would assume Resolve. Maybe I’ll need to link to the camera originals since I can, I don’t know yet. Would like to be able to link to the camera originals in any case as I might have to pull some clips for vfx work before we get to the onlining phase.

If I need to get the original camera files for these problem clips, I need to know what steps to take to get the clips connected or pointing to the original camera files rather than the proxies that were made. It seems that maybe the previous editor/asst deleted the camera clips after making the proxies then imported the proxies.

[Nina Lucia]

What is destructive about merged clips? From what I’ve read it doesn’t matter, and it seems that merged is what I’m used to from other editing software.
Source: https://blog.frame.io/2018/05/14/premiere-batch-syncing/

Does the multi-cam sequence method actually give you sequences? I hate copying from one seq to another, are those different? Can they be loaded into the source monitor and marked with ins and outs and can overwrite be used? (I’m an Avid editor who has also used FCP7 back in the day)

[Nina Lucia]

Yes, picture was shot with an Alexa and sound was recorded by a production sound mixer at 48khz. So we have the camera files and wav files.

These were then synced/merged and the resulting clips now have 44.1khz listed in the Audio Info column, where as the individual wav files have 48khz in there.

So I’m now assuming that they made their sequence setting at 44.1 and synced/merged the clips using a timeline that was at 44.1.

Since it plays fine with no issues, I’m going to leave things as they are until we are picture locked and then try your suggestion of making a copy and changing the audio setting.

I appreciate your time and input!

[Nina Lucia]

Thanks.

Do you know why the clips would be at 44.1 if the original audio is at 48? I just made a merged clip by selecting the picture and sound for one and right clicking > Merge Clip and it came out at 48 and I didn’t see any option to alter it.

Oh…. I’m guessing they had the sequence setting at 44.1 and Merged Clips from the timeline. I had to fix sync on a few shots and did it that way and just looked and see that they are at 44.1.

[Nina Lucia]

Look, I really don’t know Premiere, but are you using the same software version on both the laptop and desktop? Or is the laptop a newer version? I had to ‘downgrade’ a project I got from 2019 to 2018 and I think I got that message at some point before I did that.

Then again I could be completely wrong! Just spitballing until someone else comes along with a solution…

[Nina Lucia]

Wow! That’s pretty stupid. Why does it do that? Who cares about that when you’re most likely going to have external audio anyway? The proxies are used only for picture!

I just made proxies in a project where the R3D files had 2 channels of empty audio tracks. I did it in Premiere. Can I assume that’s fine? I didn’t alter the tracks on the full res files but do need to sync them to the sound now. I found that I can sync without using the camera audio, by checking ‘Remove Audio From AV Clip’ and that made a synced clip with only the mic’d audio. Is that the proper way to do it so that I won’t have problems with the picture conform and sound editing?

EDIT TO ADD: I just watched a couple videos and on one it said that in order to toggle between camera originals and proxies you can’t have synced to external audio. So was it a mistake to have made proxies with the camera clips with the empty audio tracks? Should I somehow get rid of the audio tracks and then make the proxies? As I’m typing this I’m thinking that won’t change anything. So is there no way to toggle camera and proxies if you sync to external audio? Does this have any effect on picture conforming in future?

[Nina Lucia]

Will it ‘break’ anything to move the Premiere shortcuts to other keys? Not sure what you mean by “some shortcuts function across the app, some only in a particular panel of the interface”.

I have a great Avid kb layout that I have set up and it makes editing so much faster and would love to make it work in Premiere as I’m going crazy right now cutting sooooooo slowly. Not only is the software not as good for editing imo (could be just because I’m used to Avid, but I think it’s really not as good because it’s very much the same as FCP which drove me cray-cray), but for me, the kb layout doesn’t make any sense. I’d like to map things to be like my Avid kb and just move the Premiere shortcuts that are in the places I want to use to the other places I ‘take’ things from.

Will that be a problem?

I mean, if I’m going to be using Premiere and Avid, I need the kb layout for my essential editing moves to be in the same place so my fingers know where to go without thinking about it. Also, in Premiere the things I need are spread out and not easily reached. The way I mapped my Avid kb I have everything handy and don’t need to move my left hand from its position on the kb except to hit those f keys for locators. Yes, locators. That’s what they are. They are NOT markers!!!

[Nina Lucia]

Edit: Oops. Nevermind… was looking in the wrong place.

[Nina Lucia]

Did you get an AAF back from the colorist? If so, can you import that and link to the colored material so that you now have the “colorist” sequence all linked and color timed?

If you can get that far, then it seems you would just have to make the timewarps and other effects again manually using the color timed media to match your old sequence.

[Nina Lucia]

Yes. Good clarification. I should have said when you cut them into the sequence they will be in the sequence as well if they were on the clip.

Should you want to use it, that setting is here, you need to have your Source/Record monitor window highlighted:

Windows > Composer Settings > Edit > Copy Source Markers (locators!!!!!)