Editing a Feature in Premiere Shot in 4k with Separately Recorded Audio...

[Jonas Bendsen]

Adobe MUST address the issue of sound sync in Premiere

Adobe MUST address the issue of sound sync in Premiere

So... IMO this issue continues to be the greatest limiting factor in considering Premiere a realistic option for Pro Video Editing.

I very much want to edit our feature film (shot in RED 4k with audio going to an external multi-track) using Premiere, but the complete lack of TC audio sync is pretty much a deal-killer.

That said, my asst. editor went through the mind-boggling process of visually syncing all the .wav and .r3d clips and has been creating nested clips for all of them. This seems like it will work, but it's very annoying that you can't see the .wav file image in a nested clip.

Also, she still has major concerns about making sure the audio and video are synced on export since, again, Premiere fails to address any sort of audio Time Code.

Has anyone found any information anywhere on this issue? Adobe really needs to address this problem, or they will not be able to compete with AVID and Final Cut... AT ALL.

 

[Jonas Bendsen]

XML export from Final Cut to Premiere

XML export from Final Cut to Premiere

You cannot sync via TC audio with video simply because PremierePor is not able to read TC in audio files... Sync all your audio in FCP, export XML, import the FCP XML in Premier Pro and off you go.

Hans

We have tried this several times, but it has not worked for us.

Anyone trying this method should note, the thing that may be failing us is that I believe you have to have all your clips on the timeline (not just in bins) before exporting from FC for Premiere to recognize the sync when reimporting (it needs to import the clips onto a timeline/sequence, not just into bins). Please let me know if I am wrong on this, but after trying several times changing various things, it's the only thing I can think of.

If having the clips on the timeline is the solution, it's not a very good one, as for it to work for our feature-length project, we'll need to put thousands of clips on the time line before export... I may still give this a shot though.

And I suppose we could just do a separate XML export for each bin folder... it's gonna take forever though. :sad:

 

[Blair S. Paulsen]

Laborious though it may be I agree that putting everything on the timeline is probably your salvation. Try it with a few test clips and see then please report back. Good luck.

 

[Jay A. Kelley]

Use Cineform and CS3 and all your problems are solved my friend. You can render to cineform in any resolution you wish, it will play back real time. Also, throw all your audio into a folder and when the conversion program asks you if you have any audio files, just point it to the folder. Cineform will search the timecode, and attach audio to the video as it creates the new files.

And there you have it.

Premiere is an odd beast... Because of powerhouses like Photoshop and After Effects, Premiere COULD waste the competition if it really decided too, but it seems happy to limp along 2 years behind everyone else.

But by that same token, they are the only truely "open" platform out there, which is why RED was able to offer such great support.

Oh well.

And by the way those "annoying" links used to point to something else. But I'l guessing the links changed when the forum went down a while ago.

Jay

 

[Jonas Bendsen]

Laborious though it may be I agree that putting everything on the timeline is probably your salvation. Try it with a few test clips and see then please report back. Good luck.

This is what we're currently working on. I should find out today if it works.

Use Cineform and CS3 and all your problems are solved my friend. You can render to cineform in any resolution you wish, it will play back real time. Also, throw all your audio into a folder and when the conversion program asks you if you have any audio files, just point it to the folder. Cineform will search the timecode, and attach audio to the video as it creates the new files.

And there you have it.

Whoa. What? Could you explain this again, a little bit slower.

Maybe a little more detail for the slow kid?

And by the way those "annoying" links used to point to something else. But I'l guessing the links changed when the forum went down a while ago.

Gotcha. I'm sure I'm not the only one getting "tricked" and "annoyed" by these though, so it would be great to remove them. I think the author of a post can hit "edit" and then hit "delete" to remove the post.

Thanks, Jay.

 

[Michael Romano]

This link has also has NOTHING to do with audio sync, nested clips, or even Premiere. It's an advertisement for a lense someone is selling.

Again, very annoying.

No kidding, WTF is up with that?

 

[Peter John Ross]

Use Cineform and CS3 and all your problems are solved my friend. You can render to cineform in any resolution you wish, it will play back real time. Also, throw all your audio into a folder and when the conversion program asks you if you have any audio files, just point it to the folder. Cineform will search the timecode, and attach audio to the video as it creates the new files.

I have Aspect HD and Prospect HD at work. I tried to export from CS4 some RED footage to 1920x1080 only to have the all new and less than stellar ADOBE MEDIA ENCODER thwart me.

Any ideas on how to best get RED footage to CINEFORM without a pricey upgrade for my Aspect HD software?

 

[Jonas Bendsen]

...the thing that may be failing us is that I believe you have to have all your clips on the timeline (not just in bins) before exporting from FC for Premiere to recognize the sync when reimporting (it needs to import the clips onto a timeline/sequence, not just into bins).

This is in fact the case. In order for the Export XML from Final Cut import XML into Premiere to work correctly, you must have the clips on a timeline.

Also note, if your clips are butted up against eachother and there is "hidden data" due to the clips being truncated, Premiere cannot figure out what to do with the hidden data and it will throw the sync off.

Make sure there is enough space between each clip to accommodate ALL of the data not being shown on the timeline... and don't start your clips butted up against the start of the timeline. Give it 15 seconds or so of pre-roll.

I REALLY look forward to the day when Premiere stops pretending to be a serious Pro-Editing solution, addresses audio time code sync, and joins the world of Avid and Final Cut, so users don't have to sync audio in a SEPARATE program and then figure out how to import it into Premiere.

 

[Jonas Bendsen]

I have Aspect HD and Prospect HD at work. I tried to export from CS4 some RED footage to 1920x1080 only to have the all new and less than stellar ADOBE MEDIA ENCODER thwart me.

Any ideas on how to best get RED footage to CINEFORM without a pricey upgrade for my Aspect HD software?

This has nothing to do with separately recorded audio and audio sync in Premiere (the thread topic). Please start a new thread.