[Sean Nolan]

Alright, I’m making some good progress now. I’ve done some testing with the Audition roundtripping on a rough edit, and I’m really happy with the results. My workflow is to export my Premiere sequence to Audition, through Edit -> Edit in Adobe Audition. Then I do my work in Audition, and then Multitrack -> Export to Premiere Pro.

Now, here’s where I’m a bit confused. Once I’ve exported my Audition sequence back to Premiere Pro, all the individual audio tracks are merged into one continuous track. I feel like I’m going to run into a challenge if I need to do some fine tuning on the edit, and I fall out of sync with the continuous track I’ve created in Audition. Perhaps I should be saving the audio portion of my workflow for the very end, once I’ve finalized my edit. Any advice?

Thanks to everyone for your responses so far. You’ve been very patient and helpful, and are teaching me a lot.

[Sean Nolan]

Hi everyone, thanks for some really great answers. It’s sounding like Audition is the way to go, since it already has the toolset I need, without needing to purchase additional plugins. I really appreciate the suggestions about roundtripping. I wasn’t aware of this workflow, and I’m checking out some tutorials now, to get a better feel for it. Although I’d hoped to complete everything in Premiere, since time is an issue, roundtripping doesn’t look too time consuming.

[Jeff Pulera] “Addressing the core of the issue, how was the scene miked? It sounds like you are trying to work with on-camera sound. Typically, you would choose ONE audio source and stick with that while switching camera angles. It is going to sound strange if the audio switches with the video.”

Hi Jeff, everything was boomed with a Sanken CS-3E short shotgun. I had some student volunteers running boom, but they didn’t always boom as close or on axis as they should have. Also, the whole piece was shot in a kitchen, no carpet or curtains, so there’s some reverb to contend with.

[Sean Nolan]

Hey Todd, this is awesome advice, and I really appreciate it. The film/director examples are great references, which I’ll definitely check out.

One other thing I should mention, I’ll be using a teleprompter on this shoot, and wondered about prompter placement. If the speaker is reading the prompter just over the shoulder of the person they’re speaking to, do you think it will appear as if they’re making eye contact with the other person. I imagine the over the shoulder shots will be pretty forgiving, since we only see the back of the listener, but I’m not sure how well my master wide shot will fare.

[Sean Nolan]

Hey Jason, the advice about faking focal length by editing at 1280×720 is a great idea, I’ll definitely be incorporating that into my own work. Thanks for sharing!

I’ve got an upcoming gig to shoot a series of talking heads, where people share successful sales techniques. I’ve shot some talking heads in the past, with no b-roll (rookie mistake), and although the client was happy, I want to step up my game on this shoot. I’m wondering if anybody can offer some advice on how to effectively gather and integrate b-roll. If I’m going into an office environment, are there specific shots that are staples in b-roll collection? I’m thinking a pan of the outside of the building, a pan of the reception area, some shots of people working, but I’m sure this list is too generic.

Looking at previous videos the client liked, the b-roll is often a series of slow motion action shots of the individual being interviewed, shot around the office, working and gesturing enthusiastically. I’d like to do something more unique though, if you have any suggestions.

[Sean Nolan]

Eric and Ty, thank you very much for your advice. I’ll setup as you mentioned, and let you know how it works out.

In terms of sensitivity on the G3 bodypack, do you have any recommendations where to set it?

Cheers!