Stephen Montgomery
Forum Replies Created
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I would use ProRes if I was editing on a Mac but I am on a PC
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In my case I don’t think I can use the .mp4 wrapper. I am trying to create proxies for footage shot on Arri Amira. The camera records 5 channels of audio. Premiere requires the channel layout to match – so the proxies need 5 channels also. We have the same situation with some file based recorders that create files with 16 channels of audio. In Media encoder, you can not set the audio channel layout in .mp4 and only in .mov format.
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I am also getting a similar problem. I’m on a PC with 25fps footage (ProRes). Premiere reports various timecodes, i’ve not checked what exactly but it changes what it thinks the start time is in the project bin when I click on the clip. The waveforms drawn on the audio are also shifted by a few mins until I zoom right in and it is then displayed correctly. I briefly opened the project on a mac and it displays yet different timecodes. I am trying to edit 2 min clips from a 2 hour session using timecode notes and failing.
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I totally agree with you. However, it seems we can still use them – but for how long before a future release removes them completely?
The main thing for me was being able to see the amount of gain reduction with the meters in the now obsolete dynamics effect. I can’t see a thing in this new effect, it is like driving blind.
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So I think I have have got a bit further. I was trying to keep it too much multichannel from the start.
I set my multicamera source sequence to 1 mono channel. (See photo:) It was 3 mono channels. This resulted in a single channel mono mix in the source sequence.
On my timeline with the multicam edit, I now just had one mono channel. I could then duplicate the channel on the edit time line, twice, to give me the same channel 3 times. The audio track also acts like the video track and you have to right click it and select the audio source (“Camera 1” etc.) In my case, the audio is not from the camera but Premiere calls it this. (see pic with audio track, not video track, selected.)
The only problem, is that only the original 1 track has sync slip notification of how many frames out i have slid it. If I accidentally slide the other two, I will not be warned!
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I am also having this problem. It may be an old problem too as I have read this thread from a couple of years ago: https://forums.creativecow.net/thread/3/946534
I have 3 audio tracks in my multicam source sequence. They are the microphones from the 3 studio guests and I also want them to remain unmixed on my timeline for an audio guy to work with later.
When I open the multicam source sequence in the timeline, I can play it and see the 3 individual meters in the Audio Meters panel showing the audio. (see pic:)
When I open the multicam source sequence in the Source window, I only get the first track; the meter has 3 channels showing but only audio in the first. This first track is only the audio from the first track in my multicam source sequence. (see pic:)
When I edit the multicam source sequence into the timeline, it is the same. I get 3 audio clips. The first is a the audio from the 1st track in the multicam source sequence, and the others are silent. But this is not panned left as in other posts. (see pic:)
This seems to me to be a bug or we are really not understanding how to do this.
I can work around by editing the audio track back into my new timeline alongside the multicam clips on the timeline, but there is then no linking to tell me if I accidentally knock clips out of sync. And I shouldn’t have to do a workaround should I?
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Yes I could forget the display setting but then when playing files back to clients direct from the server they look squashed. So I wanted it to display widescreen and also work with CS5. The problem is that Adobe have changed what they think widescreen is from 1024 to 1050. Avid ‘displays’ widescreen as 1024 which is not wide enough for Adobe’s 1050 so Adobe crop it to 4:3.
