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Show all posts by userYour basic troubleshooting and discussion forum for all things about Avid Media Composer
Re: Premiere's sync by audio waveform feature - 10 years agoOk, if I open up a new sequence, and drop the muticlip on the new sequence and choose change settings, it gives me what I want, both mics on both channels. Funny thing is if I drag the multiclip to the sequence icon, where it should give me the correct settings based on the clip, I get just audio in the L channel. Oh well, funny little workaround but it works now...Thanks Strypes.by Joe Riggs - Adobe Premiere Pro CC Re: Premiere's sync by audio waveform feature - 10 years agoIt is but I'm still getting the following Quote.still only getting audio on L or R when I open a multicam clip in timeline. When I take the resulting multicam sequence into a new sequence for editing, it actually only gives me the left channel, so both mics work but only on the left channel.by Joe Riggs - Adobe Premiere Pro CC Re: Premiere's sync by audio waveform feature - 10 years agoHey Strypes here you go, I think I followed instructions to the T but...still only getting audio on L or R when I open a multicam clip in timeline. When I take the resulting multicam sequence into a new sequence for editing, it actually only gives me the left channel, so both mics work but only on the left channel. If I do a batch sync, I'll have to edit with the multicam sequences.by Joe Riggs - Adobe Premiere Pro CC Re: Premiere's sync by audio waveform feature - 10 years agoSo I have wav files with a boom and a lav, they defualt to stereo, so I change the preferences to mono. I want them on separate tracks, but each audio on both left and right channels if that makes sense, so for example if I mute the boom, I'd like to hear the lav on both the L and R channels. In the multicam workflow, I can only seem to get the boom on L and Lav on R. I can't have them plaby Joe Riggs - Adobe Premiere Pro CC Re: Premiere's sync by audio waveform feature - 10 years agoHi, It works in the new version 7.2.1., it wasn't working for me in the older version. Few more questions. 1. Once the clip is sunk, often there's a lot of audio previous to the Video sync point, so I'd like to trim that off and create a new clip that starts at the sync point. However, when I try to drag my trimmed clip to a new bin like "Scene 1 sunk", but it won't let me droby Joe Riggs - Adobe Premiere Pro CC Re: Premiere's sync by audio waveform feature - 10 years agoJust tested this out really disappointing, perhaps I'm doing something wrong? Methods I've tried: 1. I select the audio clip and video file in the browser Merge clips Audio All it does is tack the audio to the start of the video, so it's out of sync. 2. Brought the clips into the timeline select synchronize It actually syncs! But when I try to merge clips after that: a. The reby Joe Riggs - Adobe Premiere Pro CC Workflow for syncing R3ds in FCP x - 10 years agoHI, I've never used final cut X but am considering it for an upcoming gig. I want to be able to batch sync R3D footage without transcoding then XML to premiere or FCP7. Is this possible? What are the steps to do in FCPx? I heard you need to muliticlip it otherwise they lose TC? Thanksby Joe Riggs - Café LA - X Re: Creative Cloud Open Letter - 10 years agoDoes CS6 and CC work harmoniously side by side or will I lose my ability to work with CS6, if I install CC?by Joe Riggs - Adobe Premiere Pro CC Re: Script Supervisor - 10 years agoYeah, I'm not sure why but I've had some interesting experiences with sound recordists (one didn't want to get room tone, another had low levels). When pressed on these matters they got all butt hurt. I think they are typically used to being left alone and doing the minimum.by Joe Riggs - Café LA Re: Script Supervisor - 10 years agoNot really a script supervisor thing but how imperative do you feel "room tone" is? Should I insist production get some for each scene?by Joe Riggs - Café LA Re: Script Supervisor - 10 years agoI'm not missing anything because they haven't started the shoot yet. I'm not sure I need to spell out his/her job because they should be competent at it - At least I hope I don't have to but if there's anything that is not standard procedure that might help?by Joe Riggs - Café LA Re: 10 Almost New Shortcuts in Premiere Pro (And a Couple of Others) - 10 years agoIn general how are you guys using the shortcuts in Premiere, are you setting them up to be like FCP7 or learning the Premiere way? I really like how FCP7 sets up their tools Ripple, Roll, etc... so it's just r, rr, rrr...by Joe Riggs - Adobe Premiere Pro CC Script Supervisor - 10 years agoHi, I have a client who asked me if I have any requests for the script supervisor. As long as they are keeping track of the standard stuff I think I'm fine but is there anything I should specifically mention that will help me in the edit? Thanksby Joe Riggs - Café LA Re: Premiere's sync by audio waveform feature - 10 years agoWow thanks for this. Is the audio waveform sync a feature only in Premiere CC or is it in version 6 as well?by Joe Riggs - Adobe Premiere Pro CC Premiere's sync by audio waveform feature - 10 years agoLooking for an alternative to Pluraleyes for working with RED footage. Has anyone tried Premiere's sync by audio waveform feature? How reliable is it? The only downside i see is that it looks like you can't batch sync a bunch of clips, you have to select one video/audio at a time, then click merge, etc...by Joe Riggs - Adobe Premiere Pro CC Compressor 4.1 vs 3.5 - 10 years agoHas anyone used Compressor 4.1? I'm assuming you can't "send to" from FCP7. But is it faster, better than 3.5? Did it lose any features from 3.5?by Joe Riggs - Compressor - Media Compression and Conversion AME CS6 vs Compressor for DVD compression - 10 years agoCreated a DVD recently and I typically use Adobe Media Encoder because it is much faster. So I exported my 1080p file from FCP7. Then selected the MPEG2-DVD match attributes preset in AME. But in its default settings, I'm left with 2 horizontal black bars on the side, to remedy this, I have to select "Scale to Fill". When using Compressor, if I select the default Best settingby Joe Riggs - Café LA Re: Naming of Clips - 10 years agoI like and use the lettering system as well, it makes sense, it's simple and it's what's on the slate and script sup notes as well. Typically, in the American system the master shot will just be "Scene 1", then next setup "Scene 1A", and so forth.by Joe Riggs - Café LA Re: OSX Mavericks + FCP 7? - 10 years agoDoes OSX Mavericks offer any particular benefit from Mountain Lion?by Joe Riggs - Café LA Re: FCP7 conversions - 10 years agoCrusty, are you sure you did not export it as Pro Res or Apple Intermediate Codec? Unfortunately, those are codecs that Windows can't play. As others have mentioned export as H264 and that should play on Windows.by Joe Riggs - Café LA Re: Multiple hard drive workflow - 10 years agoThey are usb3 drives so speed is fine and there are multiple backup copies, so I'll have them for the duration of the edit.by Joe Riggs - Café LA Multiple hard drive workflow - 10 years agoHello, Production will be sending me a drive on a weekly basis with that week's raw footage and audio from set. By the end of of 4 weeks, I will have 4 drives. The total of all drives will end up being around 12-16TB of data. I'll be transcoding and syncing audio for each week and than do the offline edit. On these drives, there will not be enough space to house the full offline edit;by Joe Riggs - Café LA Re: Audio Levels - 10 years agoYes, I have had a word with the sound recordist, things have improved but still not to where I'd like to be, now it's a case of me, sort of having to conform (not in the editing sense) to his work methods.by Joe Riggs - Café LA Re: Audio Levels - 10 years agoExactly, -18 to -12db is totally acceptable. When I asked the mixer about the -30db levels, he said the reasoning was headroom to avoid peaking (uhh- okay we don't need that much headroom) and that equipment/staging was in the way of getting a better mic placement for a stronger signal ( I could see this for the Boom, but the lavs, placed on the actor's body were low as well) Obviously Iby Joe Riggs - Café LA Re: Is it possible to gang multiple finder windows together? - 10 years agoUltimately it would be to sync and compare drives. I just like the finder window interface.by Joe Riggs - Café LA Re: Is it possible to gang multiple finder windows together? - 10 years agoHey Ben, Thanks, but with those it looks like you have to use that program and compare within that program's interface. What I remember seeing was not a 3rd party interface but three OS-X finder windows ganged together, so if you moved, opened, or closed one, they all do the same thing.by Joe Riggs - Café LA Re: Audio Levels - 10 years agoNick, I'd be curious to what your levels were.by Joe Riggs - Café LA Audio Levels - 10 years agoSort of a continuation of this post The hits just keep coming with this guy; let's talk levels for a moment. I'm going to be talking to production tonight and want to make sure I have my facts straight and I'm not talking out of my behind. I've gone through the audio for the first couple days and the levels are pretty low around -42 to -30db and occasionally peaking around -24db. This is occuby Joe Riggs - Café LA Re: Audio rates 44100/32 vs 48000/6 - 10 years agoDerek, thanks for the info. QuoteNot relevant to you. Final Cut Pro can't import OMFs. Right, soundtrack pro can, but what am I supposed to do with that? Round trip to FCP I guess?by Joe Riggs - Café LA |
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