[Richard Herd]

You’re welcome.

We all had to start at the beginning 🙂

[Richard Herd]

[Rosie Walunas] “It’s not possible to plug a wireless lav and boom – like a shot gun mic into the C300? I assume that’s what they did.”

You can–and that’s a really good practice! You just can’t record two separate frame rates. And because you have two separate frame rates, they have done something that either they don’t know what they did, or are trying to hide it and blame you.

[Rosie Walunas] “Why would everything play in sync in Premiere and even in FCP (at 29.97) if the audio rates burned on to the clip play in sync? It’s only on the export in Premiere that it falls apart.

Maybe this will help? https://library.creativecow.net/articles/devis_andrew/Premiere-Pro-CS6-Basics_71/video-tutorial

What if you try this:

[Richard Herd]

[Rosie Walunas] “It’s got to be some stupid little thing in Premiere.”

I disagree, here. It is not Premiere’s fault, here. And I feel it’s the editor or Post Production Supervisor’s job to make sure production delivers the correct stuff to editorial. It can be a tricky situation, and political, because the boom pole operator may not exactly be qualified to deliver material. I’m sure they are a great on set, though.

I checked the manual, and it is not possible for the C300 to record two different frame rates in the audio channel simultaneously. https://www.manualslib.com/download/275688/Canon-Eos-C300.html

This means, the lav mic was probably a wireless gadget plugged into the camera so it is sync’d properly. But often a boom pole operator records to a field recorder, of which there are many types.

Then production then delivers the camera data and the boom-data to the DIT, who muxes and delivers for post.

It is the DIT’s responsibility to deliver proper material. She or he should have noticed the error at that time, and then (1) notified the boom pole operator to change time base, and (2) re-sampled the audio for editorial BEFORE delivering to editorial.

This appears to be a relatively large mistake, and you are the only one who knows. So that gives you some power to explain and fix. I hope you feel you can bring it up. Having been down this path I can tell you that these conversations are not happy win-win conversations, but they need to happen. Politely and professionally, quickly to the point, with screen grabs. The fact is: (a) they delivered the wrong audio frame rate and (b) that will add significant time to post production. In effect, their mistake has negated the technological advantage of file based recording, and you (generally speaking) have to recapture all of the audio, as if it were a DAT recording, and then sync it all to picture, screen, create subclips, screen the subclips checking aud1 and then aud1, and then, after all that, finally start telling the story.

I feel your pain. Soooooo sorry. 🙁

If you haven’t already, try asking in the Premiere Pro forum and the Art of the Edito forum. They may have a quick fix I don’t know about (but would also like to know).

[Richard Herd]

Yuck. I feel your pain.

Can you contact the DIT for original captured audio media?

I would be surprised if the camera inputs have different sampling frequencies…I’m gonna look in the manual…

[Richard Herd]

[Rosie Walunas] “It’s C300, lav on 1 boom on 2. We’re editing 23.976 in FCP, and those wrong shot cards were shot 29.97.”

I guess I’m confused. Was the mic (or mixer) plugged into the camera? Or recorded off board?

In the old days (2005), we shot on film and recorded to DAT. So everything was captured in post, anyway. It’s not like your particular workflow is wrong — just old school 🙂

[Richard Herd]

[Layne Russell] “exposure/color correcting in PPro”

The important part is to be able to control your image using scopes. So go to Window > Reference Monitor

Then choose the drop down menu from the Reference Monitor pane, which is hard to find, in the upper right hand corner of the Reference Monitor Pane; I drew a black arrow pointing to it. Be sure to select Gang to Program Monitor. “Gang” is a video editing term that means “link.” and you can see I have chosen the RGB Parad, but there are other scopes to choose.

The scale we’re looking at is called IRE. https://en.wikipedia.org/wiki/IRE_(unit) It really measures the amount of electricity flowing through a signal. Of course, that’s what video actually is: electrical signal. Think of it like this: If I put a light in a room and shine it at wall the the IRE of that light is 100, and if I add another light (so that I’ve double the amount of incident light in the room), the IRE is still 100. Make sense? So this is a relative measure of the electricity. It ought not be confused with photoshop type things of color and CMYK or for that matter RGB. It is IRE.

You never want the IRE to go above 100, because that means you will be sending more electricity down the wire than can really be handled and it causes noise. A lot of this gets solved before broadcast and compression.

It’s also important that when you’re filming a subject that you are sure to keep the signal within the IRE limits. Broadcast IRE starts at 7.5 and clips at 100.

The first step in color correction is to make sure the exposure between each shot is identical; that is a true art! Very tough and long-suffering skill. If your video is on track 1, then your first adjustment layer should be on track 2, and that will only do exposure. Then track 3 as another adjustment layer can then mess with “a look.” And that basically means adding contrast or saturation in the shadows, mids, and highlights to create a feeling.

A quick note, it is completely normal to agonize over the exposure. So although track 2 is dedicated to matching exposures between shots, it will probably have one adjustment layer per clip.

Here is a cool tutorial, and although it is for a particular piece of software, the controls are generally available in Premiere Pro also. Many people love the 3-way color corrector. I prefer curves. Regardless the following principles are pretty cool: https://library.creativecow.net/articles/maschwitz_stu/red-giant-blockbuster-film-look.php

[Richard Herd]

[jerry wise] “we have to transition to 7 due to corporate”

Are they paying for CC?

I didn’t tell corporate 😉

[Richard Herd]

Here’s how I’ve been doing it, when NECESSARY, otherwise I keep the edit in 7.

I media manage the sequence. As a new project. I usually name it “Project Name – Sequence MM 20140723”

Then I open that project (which is really just a sequence) and XML that.

It has been very time consuming, by the way. And it hasn’t been perfect because some editing techniques (not to mention plug-ins) simply don’t work the way they did in 7.

Bottom line: I will continue to use 7 for the next decade simply because of the amount of projects sitting here. I keep them all on an Xraid with a 10.6.8 system.

Note also try removing every single effect and setting on the audio tracks. It could be the XML just doesn’t recognize them as viable audio. Additionally, you will need to re-render everything back in PP, so any audio that has been rendered, and FCP is looking at the render file as the file, means it isn’t getting XML’d. (Make sense?) — hence the media management step.

Good luck!

[Richard Herd]

[Rosie Walunas] “it’s several cards that were shot at an incorrect rate”

What was your production workflow? You said you had a boom mic, but what was it plugged into?

ARe these audio files muxed on the video?

[Richard Herd]

Layne…

Color Correction…since you will be learning a new application, definitely give Speed Grade a good look through. There are lots of tutorials on it. And it is very powerful. It is easier than After Effects, because Speed Grade is only a color correction app.

If you plan to stay in premiere, using Adjustment Layers is the way to go. Much like photoshop.