VIdeo Masterclass | Ask Me Anything (Video, Audio, etc.)

[Music] [Music] all right everyone hello good morning good afternoon good evening wherever you are in the world my name is jason levine and welcome to the friday master class here on adobe live behance youtube and twitter periscope twitter not periscope anymore great to see you all thank you so much for joining me today's masterclass is um ask me anything so uh over the last couple of weeks um they're always just too many questions to answer during the stream so i thought today would be a good opportunity to do that and i even picked a few from uh from twitter and from youtube in a couple of places where they came at the end of the stream or in the last few days i just wasn't able to answer them all so we're going to do that today you can bring any kinds of questions audio video whatever you can we can even talk about the beatles get back if you're so inclined and uh that's what we're here for to do today so happy friday everyone as always uh we are coming to you live on a host of different networks if you want me to follow the live chat uh this is the one that i'll be reading be.net slash adobe live so that's the one that's right in front of me here i can see all of your questions though so as you're bringing them in i'll be able to do that and as always we thank you so much for watching here uh so much great content going into the weekend so you've got reverb mike cody bear how you're doing mustafa william polk tim jurgen theo biola umakorn great to see you all right and we've got here saleed my fantasy kingdom and suraj great to see you all okay so um we're going to start today in uh in premiere and this was actually a question that came from saleed just before the stream uh around grading iphone 13 footage which we showed at the very end of the stream last week oh and also just to clarify something let me switch over to premiere in the meantime as well now you may recall that uh last week i was showing um all of the various well many of the various stock options adobe stock options native to premiere pro and at the end of the stream talked about how to become a contributor and i went to go do this workflow via media encoder right where i showed you a method that i've used a lot in the past now i haven't uploaded anything there in a while so i kept trying to log in to adobe stock here and it just i was getting a weird error and it wouldn't let me do it right and i was getting very frustrated um well as it turns out this is currently broken so um basically some things have changed in the back end with stock and uploading and whatnot long story short we're going to be revamping this i don't have an eta for you i love when i can just find these things live on stream but that's why we do them live to find them live and then report them in so if you're going to do that the key is just go to stock.w.com go to your contributor portal and you can upload directly from there just as you would do elsewhere i apologize that this is in here because obviously it's a little deceptive if you wanted to attempt that previous method that i showed you which was awesome here's the good news even if you upload directly via stock.w.com it still uses sensei to automatically keyword and tag your content anyway so that for me and we didn't really get into it because it wasn't working that's sort of the best part when you upload media you remember i showed you all the various uh keywords that it automatically created based on analyzing the type of video again there's a lot of ai that's going on there where it's looking at your video and comparing the scene to other videos uh in adobe stock and then from that it pulls all these various keywords and sometimes it just gets it right on the nose as we saw with one of those san francisco downtown shots very very cool you still have the benefit of sensei doing all that work for you so really it's about titling um you know checking that you if you have a model release if there are people in there that you shot intentionally for the video you have to have the ability to upload those model releases give it a title what do you want to call it you can add additional keywords if you so desire and that's basically it you're done and then once you once you click submit or whatever the button is then it goes off to not only ai but actual humans in the term in the case of video to just look through your content and to make sure that it's suitable for monetization you know a couple of things to keep in mind if your content is blurry or uh you know momentarily out of focus but kind of in the at the right moment or it's just completely blown out or too dark it may get rejected i've had dozens of pieces of footage rejected for one reason or another so don't get discouraged um but again the nice thing is you can just submit tons of content and just see what happens it's really wonderful all right michael wheeler from new zealand how are you doing nice to see you okay very cool all right so uh color grading iphone 13. so i've been i've been shooting more and more with this camera um this is truly amazing i um the more i use it the more i just keep thinking it's it really potentially could be just the last sort of well the la the last camera that i really need in my camera arsenal you know i'm i'm a nikon i'm a nikon person so i have all nikon gear and lenses um and for 4k i've been shooting with the d850 video um this is now another 4k edition but now that this does prores 422 hq rec 2100 hdr uh i mean yeah now someone asked me too on the stream they were like oh what about um uh the the cinematic mode so at present we do not support the editing of the um of the rack focus in premiere i i'm sure that will be coming it's not it's not in there yet so when you create if you're using cinematic mode on the iphone 13 you know where you can tap to adjust the rack focus and it does it really beautifully um that's baked into the file not changeable once you bring it into premiere hopefully we'll see that change soon so that was another question that came okay so here we have a couple of those clips from last week and oh that one's already been treated whoops and as i mentioned um what's what's so cool when i shot this stuff is again i was just outside in my backyard here super sunny bright day see the sun kind of just poking through there and um i hadn't even really attempted any color stuff with it at all i really wasn't thinking about that i just sort of picked up the camera and started shooting and actually this one is even a better place to start so you know first as we've discussed before if we go into our lumetri scopes again now that they are recognizing because we have all these different color spaces that we can work in it identifies this content from the iphone 13 is rec 2100 hlg you can see that we've got over a thousand nits of brightness here so we're in an hdr scale um obviously you've got other you know multiple options here for how you're viewing that content as we mentioned which is wonderful but i'm looking at this i'm going oh wow this is totally blown out and you know working with mp4s for so long i've just gotten really used to in camera being very very careful about exposure obviously because if you have a situation like this right with an mp4 chances are that data is just gone and this was something that uh you know with the dslr boom of from 12 13 years ago i remember uh philip bloom who was really sort of the god the godfather of the dslr boom super intelligent guy um really taught me how to shoot video with dslr credit him with that and i remember him talking about this back in the day when of course there was no hdr at that time and uh saying look you know you've got a camera with a sensor shooting four two zero eight bit you know what's wonderful in premiere is we're always working in 32-bit so you can grade it gives you a little more latitude but you can't prevent what was what happened at the sensor right so if you shot it and it was overexposed and blown out you're just not going to be able to recover that with a compressed file format at four two zero eight bit not going to happen well cut to uh prores 422 content hdr content that all changes and the way that you do that is just by using the lumetri color panel and of course different ways to achieve what you're trying to do here but let's uh let's just start by first coming into the white slider here and start pulling this down now again we can adjust this after the fact but i'm just trying to show you you'll see that each of these sliders does a little bit something a little bit different so if i pull this all the way down all right right away you're noticing that we suddenly have all this detail in the trees whoa there's actually a bit of blue sky oh i even see color differentiation on the uh on the roof and the edging of the house here again there's just a lot of other detail that just appeared just by dropping that one slider now take that a step further adjust the exposure we're bringing back even more again we can kind of tamp down the highlights maybe now we increase the white level here all right and then we can really start to grade and do whatever it is that we like to this because now all the details been preserved and it's amazing if you look sort of before just completely gone after i mean it's it's pretty shocking now uh i'm running this on my uh on my old school imac here oh yeah this is i mean this is so great right here look at that this house is just there's just it's just gone and this whole sky area is just completely gone turn back on what we did and it's it's all there and what i love about this is not only are we capturing the reflections of the trees in the window and you're seeing the reflection of the blue sky and again obviously in this case it's a little more blown out here because we're basically shooting into the sun but there's so much detail and color definition it's just i mean i'm not i shouldn't be surprised by it but i'm i'm surprised by it because this is on a phone right and as my buddy brian o'neil hughes talked about so here's another example of this all right do the same thing here let's drop the exposure a little all right maybe pull down our highlights one of the things you'll notice with this iphone 13 particularly if you are sort of shooting into the sun now you're seeing a little bit of lens flare here when you do this in in photo mode there's virtually no lens flare it's it's sort of it's sort of unbelievable but again just kind of a before just i mean it's it's neat but you could just see like it's you're just thinking to yourself oh yeah that's what compressed video looks like sort of bluish cyan into just white distortion right it's just all gone okay and go back to turning this on with just like two tweaks and suddenly you know we've got blue sky and and color and the sun you know which is more shocking but i started saying um i i've been playing with the the souped up 64 gig version 4 terabyte ssd m1 macbook pro and that system so this system here which is almost five years old you can see we're we're dropping frames it's it's struggling a little on this i'm just a clip of this hdr content on the m1 macbook pro it's astonishing it is astonishing how how incredible the performance is and i can tell you personally and maybe i'll show this even next week's stream uh four sorry nine nine nine streams of 4k hdr all in a single sequence in a 4k sequence all playing simultaneously didn't drop a single frame now am i editing nine simultaneous streams playing like that no were was there any tons of effects on there no this was just straight clips in the timeline playing back the point is it does it yeah it was it was unreal that m1 mac is it's it's pretty darned incredible yes tim nine nine yes jj abrams lens flare yes reaver mike anybody who's watched any his shows not not light on the lens flare particularly in those star star trek remix which i really liked okay okay michael vandal so you're asking about motu interfaces uh like an m4 any special settings that can think about in order to avoid delays outages yeah so this is good because this kind of segues into uh into an audio question that i have and i see suraj is asking some audition questions as well how to get dolby quality audio output from premiere audition uh all right so i'm just seeing if there's any more audio ones here okay so let's let's take both of these and a third one so first uh to answer michael with regard to using external audio devices so if we go into our preferences now once again this has been a pet peeve of mine for a long time i'm very vocal about this it hasn't changed so you know whatever um when you go into audio hardware preferences so this is this is where you set um your audio hardware device now on the mac you only have one choice here core audio if you're working in windows um you'll see things like azio for your device class right that's your driver class uh i think you still see wdm maybe um mme that's so old i don't know if those are still in there you know you want azio that's going to be your lowest latency driver option so michael i don't know if you're on mac or windows mac there's it's not a big deal there is no choice windows though you always want to use azio as your driver device if your sound device for some reason doesn't have an azio driver it must be very old because azio is already old so and there's there's there's nothing new beyond that to my understanding that has any lower latency on the windows side so you want to be using an azio driver now the other component to this um in terms of and i see you're asking about you know outages so in general you you typically want to make sure that your input and output device what is this yes i want to continue stop showing me this your input and output device should be the same now audition does allow you to to set these independently and there are sometimes reasons for doing that but in recording you do not want that because you're very likely to incur either some kind of weird additional delay possible dropped samples and just possible problems later in your production so you want to typically make sure that you're always using the same input and output device again even though we allow you to set them independently particularly for recording for playback it doesn't really matter so you could have your input device as a usb mic and your output as your motu or in my case the focusrite that doesn't matter if we're just playing back you may occasionally get dropouts and things there may be some momentary sample rate blarps but um it's more crucial to have them the same when you're recording similarly your clock setting now that's that's going to be automatic here sometimes it lets you choose input or output um generally i'll tell people uh you again based on if you're particularly if you're recording uh you want the input clock um but in this case the last setting that is really crucial here is the buffer size now again on the mac this is this is um displayed in samples on windows this is displayed in milliseconds all right in theory you want the smallest buffer size possible right because the smaller the buffer the quicker the sound is goes into the machine and back out to you through the sound device so there's virtually no latency the problem is is that if you go too fast 64 32 16 you will very likely get some dropouts some clicks and pops and this happens whether you're playing back or recording so if you are playing back here let me in fact here i'll try this let's leave it at the default giving you a full full explanation of this michael also known as eating time all right uh so let me let me set this momentarily i'm going to try 16. i've never even bothered to do that all right so 16 samples this is insanely low now remember if you're trying to convert that to milliseconds it's fractional because there are 48 000 samples per second so do math whatever 16 is it's ridiculously low i'm guessing within the second i hit play down here you're going to see a little blue piece of text come up drop samples or this is just going to click and pop or maybe not even play let's see yeah right away [Music] okay now surprisingly it's actually playing back without chunking i'm curious actually [Music] it's actually playing back sometimes you get lucky very unlikely that 16 is gonna work for recording um or ever i've never actually had that work so i mean it's great awesome very doubtful that's gonna work for you in in real life so typically i think the default is 5 12 now that's just too long and what will happen is if you're monitoring yourself uh through the software and by that i mean you have the let's say we set this i don't have a device selected here why is this yeah we don't how did this all get changed if you have record enabled and then you're monitoring through the software that's what this input monitor i stands for here if you were to monitor yourself there you're going to hear a very note it's pr at 512 it's it's not even a slapback it's probably going to be pretty pronounced pronounced yes yes no no i mean it's maybe a little faster than that that's not quite 512 samples you're not going to want that for playback if you've got a really complex session with a lot of effects and things that's it that's okay but for recording that's not going to work so typically if your machine can handle it if you do 128 samples or again the sort of equivalent lowest lcd lowest common denominator on the windows side you want you know no dropouts no skipping and smooth playback and recording you're gonna have to find where that is based on the kind of machine you're working with so for me 128 typically does that and when i monitor in headphones it might be slightly phased or chorus e sounding right so there's because in practice there's probably you know a 29 or 32 millisecond delay which kind of creates almost a chorus it's probably a little shorter than that so it sounds kind of chorusy but it doesn't throw me off when i'm singing necessarily and if i monitor directly through the device it's zero latency monitoring but the difference is if i monitor through the software you're gonna hear that little weird thing so it's a combination of making sure input and output are the same for recording right making sure your clock is whatever that device is uh and then the lowest buffer size possible but playback first if you start seeing that dropped samples even if you if it sounds fine but you're seeing drop samples raise the buffer because it'll hurt you later and if you're recording you can have dropouts you can have all kinds of problems this is this is every daw by the way you just have there's no there's no exact and that's why we default to 512 because that's fairly slow that's going to work even with an onboard native sound device on a laptop that's seven years old you want to go as low as you can all right okay so second question before we get to suraj about dolby was how to import audio files that are maybe older or not supported or it's not a it's not a a a standard audio file type anymore so this is actually a great question because i'm in the process of working on um putting together a collection of original wendell drum samples i don't know if anyone if you're in the chats and you're familiar with what wendell is wendell was theoretically the first digital drum replacement computer which became more than that and this predates the lin drum and everything else developed by my good friend and mentor roger nichols nine-time grammy winner roger nichols engineer of all of steely dan's records and 1978 he created this wendell computer to do sample replacement of drum sounds for what became steely dan's um 1980 record gaucho as well as donald fagan's the night fly now 1980 19 late 70s to to capture first of all to even capture in 16-bit was a process um but the issue really were sample rates digital capture was still pretty limited well roger somehow figured out how to capture and i think the original samples were actually 12 bit but he was capturing them at extremely high sample rates 50 kilohertz and above and by early 82 83 i think i have to look back at my history here um he was even capturing 16 bit but at 100 kilohertz and you have to remember this is at this time 441 and 48k were it there was no 96k yet that that didn't come until the mid 90s none of that existed it wasn't it wasn't even a thing but roger being the immortal and being amazing he figured out a way to do this so i'm now going through all these i have access to all of his old samples now there's a sample company out there called samples from mars and they have a wendell collection and it's okay um but they don't have the originals and i do so i'm doing this uh in in conjunction with roger's family which is amazing my point is is that these files were re-digitized in 2006. now they're sound designer 2 files now you know i have i have pro tools installed because i like to test in pro tools occasionally not a fan of the app and i just tried oh cool sound designer these should go right in they don't because the format of these 2006 different byte order and how we assigned to sound designer and wave and pcm files and again you need to know i don't know exactly what sample rate they were recorded at or saved at and pro tools didn't know what to do with them i couldn't open them at all so here is how you're able to open any type of audio file and audition but there's a couple of caveats so from the file menu you're going to go into import and you're going to go into raw data okay so navigate here and it's got me right into my wendell folders here now you'll see that the mac os still recognize these as sound designer 2 audio files oh and weird it's actually not it's not showing at the moment the the original it says 95. these were not made in 95. these are all made in 2006. i don't know why these all have the same that's weird anyway um i guess technically these could have been 95 now that i say that these could have been maybe some of the later ones maybe these weren't even re-encoded i'm just talking to myself don't mind me okay so let's choose one all right so i'm going to choose this dave light crash initially i thought this might be that he captured dave weckel i'm forgetting i think it's dave frangioni but let's go ahead and click open now when you do that what happens is because we're opening it as raw data right it's going to ask you well what's the sample rate how many channels how was it encoded what's the bit depth and then most importantly what what's the byte order okay now if you've not been doing digital audio for a long time you've you've never encountered you're seeing here you're like what is that little endian big endian this just has to do with bite order and you can see little endian is the old school uh or i should rather say new school intel bite order big endian was the power pc byte order but i hadn't even when i first tried to open this sample i wasn't even thinking about that at first i'm like okay i know these are 16-bit all right and by the way if you'll see there's all different options here so you need to know the attributes of the media this is the challenge now unfortunately even in mac os get info it didn't tell me the sample it didn't tell me anything because it doesn't it knows the file type but for whatever reason the metadata header they can't see that in whatever os i'm in now the big sur whatever mojave so you gotta guess so i was like okay well i know it's 16 bit now i'm thinking maybe maybe these are mono this is like 1980 82 it's probably mono and let's try 48k let's just see i know he recorded these at 50k you don't have a random option can we even type in an option does it let you do it it actually does and i may have tried that too let's not go there because that's again most of you're never gonna have to do that come back to that 48k mono encoding byte order little endian click ok and i open it right away i'm going okay that that can't be right now before i even played it back and i will play this for you don't worry those in headphones i will drop the amplitude before we listen so you know right away i'm going okay uh it's five decibels over zero you know we've got 600 clip samples there is no way there's dc offset no way that roger nichols encoded something this way not a chance okay now just for curiosity i dropped the amplitude okay and again even if i'm not an audio person i'm looking at that and this is supposed to be a crash symbol no way a crash symbol has [Music] this area is wrong and typically the reason you'll see something like that or you might see um transient peak distortion is because you have the bite order done incorrectly so i kind of guessed that right away if you are if you were to look at this spectrally yeah i mean this just this looks like a bunch of digital mess now this part might be okay you can kind of hear the remnants of symbol in there all right it's pretty low amplitude for the stream i realized um but this at the beginning let's play let me drop it even more so i don't want to hurt anybody's ears or like -17 all right all right totally wrong so let's close that file import raw okay so let's go back to what was that like crash 12 open okay so first of all let's just keep it at 48k for a sec i'll come back because again we're gonna use our and use our ears to help us with this okay i just gave you a little trick if you see if you try and bring in something you're not sure of the bite order first of all think about when was this encoded 95 for sure it's going to be big endian 2006 still big endian most likely power pc that was that was the mac i had and i know roger used max so let's change it to that and let's leave the rest the same 48k one channel 16 bit big endian click ok what all right now let's amplify this okay now without even listening this actually looks like a pretty healthy waveform it looks okay do we dare play it back [Music] okay no distortion i can actually hear the i can hear the sticks but what's wrong with it [Music] right the sample rate's wrong sounds about half speed so that tells us it's not 48k it's 96k and if i take a look at this spectrally this is telling me i think this is actually a stereo file so let's close it one more time let's go ahead and open import sorry raw 12 let's do 96 let's try stereo i'm guessing here keep it big endian click ok and look at that it is in fact stereo left and right slightly different as they should be spectrally now this looks awesome let's take a listen what crystal crystal freaking clear actually sounds more like a splash than a light crash it's a terrible sounding crash symbol um but that's it right and what's amazing i want to point this out to you again this was captured so long ago look at how much detail so remember we're at 96k so the nyquist limit is 48k we're capturing we're we're presenting frequencies that you can hear uh well you can't hear them but up to 48 kilohertz half of the sample rate look at all the data that's up there look at all of it in this sample that's there i mean it's well above even 26 27 28k and this was captured long before you're really even able to do this stuff easily amazing and by the way i analyze some of these samples against some of the already commercially available ones and they don't have all that data there i'm not knocking them they're good samples good company good guys whatever but these are the originals it's it's unbelievable all right so and then just case in point here if we just go ahead and open up another one i'm trying to find something interesting let's try one of these ride symbols and now we know with 96 2 16 bit okay all right let's take a listen again these are symbols so they're all lower lower amplitude naturally by design i'm making them louder so you can hear them on stream all right take a listen ping a ping ride beautiful all right very very cool okay so that's importing raw data when you don't when it's a like an old school file format now by the way if you were to go to save you'll notice that those file types now we don't even oh we still do listed here sd2 this is what it's using the um the encoder and the decoder known as lib lib library sound file so this includes a lot of those kind of esoteric i mean flac we actually have natively but caf iff mpc ogg i think we still have og in here don't we yeah we do have a native og um rf64 really old school sd2 sds dot vox all right and again this is not like standard wave this is another flavor of not pcm wave but something else i've never heard of dot g but okay anyway you could export back into those formats or for you know current modern backward compatibility just export it out as pcm wave and now it's going to work and play in any daw everywhere and be preserved forever which is how of course we'll be presenting these samples when they eventually get re-released so re-save into a modern format but the key is if you know the attributes it's very easy to use the raw import feature if you don't know them it takes a little bit of playing around one of the major keys if you're if you're seeing or hearing distortion or what i showed you make sure to adjust that byte order chances are that right away will tell you that'll get rid of the distortion and then it's about finding that right sample rate and the channelization too sometimes get info shows the channels sometimes not i don't know why it's inconsistent but something to think about okay last thing so now i don't really have anything to show here suraj you've been patient um you're asking about sort of dolby quality audio from premiere audition now listen we do not longer uh have native dolby export in premiere or audition we used to so if you want to go to something like you know dolby digital or dolby atmos for whatever reason um you'd have to actually buy a license from them and then take either your stereo master from audition or premiere or your multi-channel master from audition or premiere and then encode it in the separate dolby software so we used to have a direct export for that we do not anymore you'd have to go um third party on that one okay ashton helen's asking i've had a question i have been sitting on them for a while is there a way to view your multi-track within premiere well that's a that's a good question so you know premiere doesn't technically have well let me open up a let me see if i have another project i can just open that has something bigger in here that doesn't have any premiere doesn't technically have a a a multi-track per se because your track view is always this so you always have your your combination of audio tracks and video tracks which i've just made full screen here with this divider so you can kind of move up or down um if you're talking about the the mixer itself the track mixer and again we have two mixers right we have the clip mixer which allows you to adjust individual clip amplitude in the timeline i never use the clip mixer ever um you can also add effects on the clip and then you know work and automate in on the clip itself i never use this because nine times out of ten i'm going to be using uh the track mixer and then this functions very similarly to auditions uh mixing environment the only difference being that if you want to show your effects inserts and sends you've got to twirl down this little icon over here but then this essentially functions just like audition where you have your effects inserts up at the top so all of your native effects including any third-party au a mac or vsts that you may have installed you've got your effects sends so this is if you're wanting to create any sub-mixes or busing again we use slightly different nomenclature and premiere in audition same concept here though you're trying to create a bust submix of all vocals or maybe you're creating three buses for dialogue music and sound effects or a fourth for ambient sound or whatever foley this is where you do that and it follows the the signal chain follows from top to bottom right so it the signal begins here now we don't again unlike auditions mixer because it's an audio mixer where you have oh whoops where you have options here right for flipping phase right at the top and then your input and output and some of these other things you don't have all of that on the on the premiere side but you've essentially got everything else what's wrong with me all right including your mix automation your sorry your pan here mix automation here mute solo record and your fader fader volume label that's it all right so i'm not sure if that answered your question ashton but that's that's the extent of what you can do there is no theoretical multi-track in premiere now if you want to take all of the audio that you've assembled in premiere and mix it in audition that it and then use auditions multi-track and then you can even send it all back to premiere that can be done simply by going to the edit menu edit in adobe audition sequence right so you can send the whole sequence with any existing mix that you've created to audition from premiere and then you got a couple of options here right so you can choose the entire sequence or just the work area you can choose to non-destructively send um basically a a flattened version of all the video tracks to audition is just one solid track of video so if you've got you know titles and other things coming in there you'll be able to see it without having to render which is very nice if you want to create just a rendered preview video obviously when you do it through dynamic link there's a little bit of slightly more of an overhead so you can do it that way that's how i do it again i don't really run into too many problems but i could i could see if you had a really complex timeline you might want to export a video just because it's just gonna make life a little easier right because it's not gonna have it's not having to play back say six tracks of 4k hdr with titles and after effects stuff going into audition so that you can see it so you can do adr sometimes it's better to create a preview video or none you can add audio handles if you so desire you can transfer any clip effects track effects right remove all at all including all pan and volume stuff that you've done in premiere so if you've done any uh keyframing of pan and volume you can do all that it gets sent to audition and it works wonderfully and then once in audition if you're ready to send it all back you can choose to export back to premiere pro okay whoops and then once you do that you can choose do you want to each port each port do you want to export stems which in this case would take every track here now again it came from premiere maybe in pieces it's going to export the whole track as one continuous piece of audio so it's not sending back individual clips it's creating new mixes of each track for you each bus is a stem or you can send a mixed or interleaved version so to suraj's point if you were working in five one this is your master mix so you have 30 tracks of audio but you're wanting to send back to premiere an interleaved surround sound mix you can create the surround sound mix right here and once it sends it over to premiere it'll be one six channel audio file okay wav file so you've got a lot of options here for doing stuff like that okay each port nice all right okay uh let's see what else we got here oh tim is saying g is a format from the old tracker music makers not sure how audition would even deal with that kind of data yeah i i don't know again some of those some of those formats that you're seeing in there they're part of lib sound file so i i don't i don't know how we interpret them at all again i'd be curious to see all right all right all right let's see uh okay mustafa is saying exporting from premiere pro or media encoder in h264 and playing it in quicktime player audio drifts out of sync playing in vlc no issues spoke to the folks at apple they say it's an adobe issue spoke to the folks at adobe they say it's an apple quicktime issue classic they said they said okay well i don't have a direct answer for you there um you know a couple of questions so the content that you're working with is it is it h264 is it some flavor of quicktime and most importantly is it variable frame rate now if it is so i'm going to do a little properties on here if it is it would tell you [Music] here inside of properties if it's vfr and if it did not this footage is not if it is variable frame rate um what you do is you want to make sure that in um effects controls so you know and again this is not vfr content so i can't show you here but inside of your effects controls you may never have noticed but you actually have two tabs for your media okay and one of them is the default tab is sort of the the clip instance but then you also have the source instance and the reason for having these two tabs is you can set certain attributes on the source side because maybe you're going to use this clip in multiple locations but you're going to treat parts of it you want certain things to be uniform like i want to make sure that it knows this is vfr variable frame rate so that it automatically syncs the audio correctly but maybe i want to use different color settings when this exists in my timeline in different places so that's why you have these two tabs so if it is vfr under source check there and then there's a drop down and it'll say you know detected as variable frame rate mpeg whatever video and there's two options i think one is you know maintain audio sync and the other is don't or something like that you just want to make sure that those are enabled first and foremost that's one thing also sometimes i've seen with now if you're using the quicktime h.264 exporter in media encoder and this is where things can sometimes get a little confusing because right there's our native h.264 exporter which i believe we still license from a company called main concept right if you're exporting h.264 this is what i recommend using all right now you can go to quicktime and then under video for codec you can choose is it still here it should be is there h2649 oh it's not even in here anymore really at all huh i guess we took it out what version i guess maybe you're not using it then it's not there okay apple has their own h.264 export and from there i can tell you from past experience um yes i've i've run into certain issues with that also frankly some quality issues that codec that they're using for 264 in the old quicktime wrapper it just wasn't my favorite um so again i would probably vote for using it natively curious mustafa which one you're actually using all right anyone's saying okay okay hasn't answered yet all right so you let me know but those are some things to check out okay um you know being someone who exports h.264 pretty much daily uh and i and again i know the footage i'm working with i i've not encountered that in a really long time i did use to encounter it again if i used the quicktime h.264 sometimes or it was vfr and i didn't know it and i didn't enable that audio sync feature and then stuff was just out of sync over time like it drifted over time so i'm thinking it sounds like a vfr issue okay uh okay um misty's asking i was recording a voice track to put into a presentation using a samsung q1u mic when i play it back it only comes in on the left speaker instead of both what am i doing wrong ah okay yeah so this is really common um if you're using particularly usb microphones and this i have a video on this uh on my youtube channel jason levine video how to record your voice in audition the same applies in premiere so you may have seen so now in the case of this thunderbolt all right you have this is a this is a 20 input device when you're recording you have input one input two right and most multi-channel devices and most softwares wanna see things as two-channel now that doesn't mean they don't work in mono it's that most defaults are to see things in stereo i'm going to use the word stereo doesn't necessarily mean it's independent content left and right they'll see it as dual channel okay the thing is with a lot of usb microphones the driver detects that as just single channel audio right so you just have a single ch which makes sense it's one voice it is one channel it is mono people ask me that all the time should i record my samson in stereo and have the same content in left and right or just have a mono track and traditionally i used to say well it depends where it's going and what you're doing with it for me if it's a mono signal like this mic here mono signal single track audio and in audition it's really simple to understand what's happening but there's a couple things you need to keep in mind so first of all if you're going to be recording something like your samson in both premiere audition i don't know where you were recording this misty you want to make sure that the track you're recording into is in fact a mono audio track because then it's guaranteed to play back in both channels all right if you record in premiere so let me make a mono audio track here okay and i'll do this with this mic right here so i'm going to show you give you kind of an example all right so i have a mono audio track set up here okay now you see even the default is stereo okay but this is this is single channel now this happens to be an input five all right so i'm going to set a mono input to record this okay and if i do that let's just record real quick one two three four five okay zoom in here you can see i've got mono audio and if i play this for you let's solo it one two three four five it's playing in both channels right now if you recorded this in premiere with that samson as a stereo file you probably only got audio on the left side because it's only a single track of audio and some devices will actually automatically populate into stereo most don't most see it as a mono driver so if you've already recorded it as a stereo file kind of need to know how you did it here all right if you have only audio on the left side or only audio on the right side there is an easy fix for that all right uh do i have any audio in here at all all right let's do audio let me get let me get some mono let me get some mono audio here real quick actually it doesn't matter i can still do the same thing um in your mixer so remember i just showed you again i don't know if you're in audition or premiere i kind of just showed you on the audition side what to do by the way the same effect works in both in the premiere mixer we're going to twirl down our effects inserts we're going to go into amplitude and compression channel mixer all right double click on channel mixer and in the channel mixer there's an option to fill the left with the right so remember we're always thinking left and right when we think of stereo audio left side right side channel one channel two even though you can do stuff in mono daws and they always think in pairs all right so if you have audio in channel one and you want it to be in channel two you're going to fill the right with the left right it's a non-destructive process you don't need to do anything and it's just gonna work for you all right so you don't have to re-record you don't have to do anything like that same thing on the audition side all right i'm in fact here let me see if that i'm curious let me see i should be able to do this for you and it should work exactly as i expect so now i'm recording i'm trying to simulate your situation here so i'm recording into a stereo file all right using the pair 5 and 6. all right i think i don't think i have any mics connected in input 6 so this should work all right one two oh it's not even letting me record a stereo file here because i'm in a mono track i have to go into a stereo for heaven's sake all right let's do this is audition that smart really i'm impressed okay stereo track all right you can even see it on the meters right you're only seeing audio in the one channel because there's nothing connected over there let's solo this all right thank you wonderful this is great this is probably what our customer is experiencing okay so there it is and as i play this back i don't really need to but you can see visually all right thank you wonder now by the way i just realized uh here in fact if i i have noise reduction on here so you're not going to hear it in stereo anyway let me remove this for you real quickly hopefully that doesn't mess up my sync all right all right thank you wonderful this is great this is probably what our customer is experiencing okay so were you are you just are you hearing that you should only hear it on the left all right thank you wonderful this is great this is probably what our customer is experiencing effects amplitude and compression channel mixer same thing that we just saw in premiere fill right with left play all right thank you wonderful this is great this is probably what oh it's turned off it's just about to have an aneurysm there here we go all right thank you why oh because it's on automation oh for why meh oh god that won't happen to you by the way i don't know why that went into touch mode that was weird all right thank you wonderful this is great this is probably what our customer is could that have taken any longer i promise you it'll just work when you do it okay channel mixer fill right with left you can see there's only audio on one side but now all right thank you wonderful this is great versus if we turn it off all right thank you wonderful this is great okay okay ryan weir after bringing mixdown from audition back into premiere and saving the file can you easily change easily edit the audio again if a client has a change so that's a great question ryan so yeah so if you were implementing the export back to premiere process here's what would happen so you're in premiere in fact here i can just do this real quickly all right i'm going to mute that mute that i'm just going to do a very here let me see how much time we have oh we're almost out of time oh i don't have time to do it okay what you would do is once you have the mix back in premiere you're going to edit the clip in audition right it will ask you do you want to open up the multi-track session that created it you then remix resend back to premiere and that's how you do it so you have to go back to audition to the master make your change and then re-export and that's how that works but friends we're out of time because just like that we're done so thanks for the questions uh it's really good great stuff thank you misty okay you used audition all right great perfect so now you know how to do it phil channel mixer fill right with left lots more of course that we could talk about next week will be our last stream of the year um and i'm probably going to be bringing on some friends from another part of adobe the sign team you think oh i'm an independent contractor i sign contracts all the time well what if i told you that one you could be one generating your own contracts two you could also you want you also have a really easy ability to use adobe sign to create you know signatures and do all sorts of things for contracts that you need to sign and verify and it's really easy it's a mobile app it ties directly into document cloud again it's part of the adobe family of apps and it works really really well so the plan is to have some some friends of mine from the sign team and until then have a great rest of your morning afternoon evening wherever you are in the world and we'll see you again next time take care everybody bye bye the dcc is up next you

Channel: Jason Levine

Views: 398

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Id: jOC5rOmSe_8

Length: 60min 27sec (3627 seconds)

Published: Fri Dec 10 2021