[Richard Christy]

Thanks all! I’ll stick with the Source Monitor method.

[Richard Christy]

Yes, but I’m using CS4. How do I do that in my version?

[Richard Christy]

@ Tom Prigge

Yes, that actually worked pretty much as I wanted it to. The only problem is sometime I don’t always have the Source Monitor open…but this is a workable solution.

@ Erik Mickelson

I can’t find this. I tried deselecting the Audio Tracks in the Timeline but it still brings the audio track in from the bin. I’m using CS4 by the way, not sure if that makes a difference.

@ Cliff Stephenson

I’d like to try this method but when I Right-Click on my footage in the bin, I do not see a “modify audio channels” option. Again, I’m using CS4 so not sure if that makes a difference.

Thanks for the info all!

[Richard Christy]

UPDATE:

I actually found the Gate and applied it before my compression steps and it’s working very well. However, this opens up another question:

Before I starting compressing/EQ I always 1) Normalize, 2) capture a noise print in the silent areas and 3) do a “Noise Reduce” process in Soundbooth.

With me now applying a Noise Gate for the breaths, would that also handle the low frying noises as well? Would it be overkill to do both?

[Richard Christy]

Thanks, I’ll give that a try. Just a few quick questions about my work-flow:

1) Are you saying that since compression is causing the issues I should avoid using compression in those instances?

2) With the Gate, I’m assuming you mean apply it before the compression step? If so, how can I target just the breaths with it?

[Richard Christy]

QUICK UPDATE

Since posting this I did a few experiments. Here are the results:

1) I rendered the 25fps graphic out as a uncompressed avi file and dropped it into an AE comp. Then, I made a copy of the video and brought that into AE but interpreted it as 29.97. When compared to the original 25fps clip, it’s definitely shorter, assuming it has to speed it up to compensate for the extra frames that aren’t’ there.

2) I went back into the original AE project file and under the Composition Settings, changed the pre-set from 25fps to 29.97. This seems to have changed the fps but have absolute no effect of the length in the original comp. Now, when I compare this clip (now rendered at 29.97) it is the same length and speed as the original 25fps.

On the surface this seems to have solved the issue of uniforming all the clips to the same fps without altering the speed or duration.

Not that I’m complaining, but I am curious as to how/why this worked.

[Richard Christy]

SOLVED

Figured it out with a little playing around. My original comp as 25FPS and the new PNG Sequence was being interpreted as 30FPS. Changed that and it matches perfectly.

FYI for anyone having this issue in the future.

[Richard Christy]

I see. I wasn’t aware that OpenGL wasn’t intended for final renders. I knew you could balance it between more preview length and quality, but I would have never guessed not to use it for final rendering.

If I need to use it in a pinch to save time, what kind of quality loss can I expect? It is the equivalent to applying a standard codec?

[Richard Christy]

Makes senses…but allow me to pick your brain a bit more on two areas you discussed:

1) When you say change the frame rate directly, do you mean going into the Comp settings of the AE project files and just manually changing the frame rate? If there are certain things timed in the Comp’s timeline, won’t altering the frame rate throw these bits off?

2) What standard frame rate should I settle on? My footage I start with is always 29.97, however, almost all the 1080p settings seem to prefer 24fps (even though 1080p 30fps is always available). Also, YouTube is 24fps.

[Richard Christy]

Now we’re rockin’ and rollin’ brotha!

I just recreated your setup above and tried the method you described. At first it didn’t work and I thought it was a lost cause, but with a little tinkering, I AM ABLE TO ACCOMPLISH IT!

Granted, I do have to do an additional step in Premiere that would automatically have been done for me in AE (IE: having to add the Markers at the cut points of the Parent Sequence to give me a point of reference for Sequence Two) but I’m just glad it’s working.

It’s two things that threw me. As you said, having to use a different keyboard shortcut for essentially the exact same thing can be a bit confusing to someone who isn’t aware of the difference (image hitting “C” for the cutting tool in one timeline and CTRL+C for the same cutting tool in another).

Also, the biggest thing that threw me was selecting the nested clip for it to work. In Sequence One, it’s enough that your in the timeline for the CTRL+Arrow to jump to the markers you need. You don’t have to have anything selected. But in Sequence Two, even with the new keyboard shortcut, you STILL have to go one beyond and select the clip first. Again, confusing if your not familiar with why it’s not working the same across both timelines.

But, it seems that this is as close as we will possibly get to an AE style of syncing the timecode across multiple Sequences.

Gotta give everyone a big thanks, especially Alex Udell…somebody give him a raise!

Thanks again!