Click on any phrase to play the video from that point.
[Adobe TV - tvadobe.com]
Whether you're filming movies, television commercials, really, anything professional,
more common than not is that you're going to use a secondary source to capture your audio.
And that's simply because the audio that's captured on your camera
really isn't high-quality enough, especially if you're capturing on something like a phone.
So this is known as a dual-system sound workflow, where you have the audio
on the camera present, but that's really just there for reference.
And then later, in post, you'll synchronize the externally captured audio
with the camera audio. So, again, you can use a number of different devices.
Zoom makes them. TASCAM makes them. They're very easy to access.
And the idea is that previously in Premiere, it was a very long, painstaking process
to synchronize all of this together.
Well, with our new native dual-system sound support and the merge clips feature,
you can do this very quickly, and in some cases you can even do it
in a single click.
So let's take a look. So what we have here is our video, and you can see
that we have some 1080p content. This happens to be from a Canon XF,
which is also a newly supported native file format in Premiere Pro CS5.5.
And below it we have two channels of audio which were captured
separately on external devices.
And if we just play a moment of this,
you can very easily see that it's not in sync with the video.
So what I've gone ahead and done is I went and added clip markers
to all of these different clips and tried to find the exact sync point--here, for instance,
where we had that clapper board--so that I can simply
drag these together to synchronize them.
So that's really the first step. I can take the secondary audio,
click and drag, snap it to those markers,
and now when I play this back...
you can see that everything is in sync. But there is a problem here,
because now I'm effectively working with four layers at a time, which means
I have to cut between four layers. I have to move these around.
And if I have lots of additional content that I want to use, this can get very confusing,
very daunting, very difficult to work with.
So with the new Merge Clips command, I can literally take these tracks,
select them all, choose Merge Clips, click OK,
and now what you'll see inside of the project panel is that it has created one single file
which houses the dual-system sound and the camera video and everything together
in one--one single clip.
A new feature in Premiere Pro CS5.5 is that from within the project panel,
I can simply right-click and choose New Sequence from Clip,
which will take that merged clip, place it into a new sequence for me,
with everything in sync. Brilliant. Simple. Easy.
But I still had to add those markers and manually synchronize that together.
Surely if I had time code in my video or if I had time code embedded
in my audio files, couldn't I just use time code for sync?
Well, in fact, yes you can. So if I twirl down here, you'll see that we actually
have similar audio clips, all of which have time code embedded in them.
So, directly from the project panel, if I have the associated audio
and the video file that go together, I can simply select them. Right-click once again,
choose Merge Clips, and now I can choose to synchronize via In Point,
Out Point, or Timecode. Click OK, and once again it creates
a single file for me that now I can edit from.
And if I've got time code there, I don't have to do any manual synchronization at all.
It happens automatically.
So anybody working in broadcast or working in film, this is ideal
because it means that you can do this very, very quickly.
A great new feature of Premiere Pro CS5.5 is the ability to work seamlessly
with other nonlinear editing applications.
So we've redesigned the keyboard shortcut interface to make it easier
to use the same keyboard shortcuts that you were previously familiar with
in Final Cut or Avid.
If we go up to the Edit menu and choose Keyboard Shortcuts,
you can see now that we have proper shortcuts for Avid Media Composer 5
and Final Cut Pro 7.
So if I actually want to modify this keyboard shortcut, I can select it,
edit, and let's do something like Control+S.
And right away this tells me that Control+S is already in use by this other application.
So, again, I can change it to something else, but it gives me instant feedback,
making it very easy to customize these keyboard shortcuts.
Now one of the other things that we've done, taking a play from our other
nonlinear editing application friends, is some of their workflows.
In other words, the ability to take a clip that you've been working on
in the source monitor and simply drag and drop it into the program monitor
and insert or overwrite into your timeline.
This is something that we didn't offer before, and now in Premiere Pro CS5.5
you can do this, and it works wonderfully.
So I can set my current time indicator to the place where I want to insert
my content. I can set in and out points here inside the source monitor,
and then very quickly I can simply click and drag into the program monitor,
and you can see that it says Drop to Overwrite or Control to Insert.
And you'll notice that we actually changed the wording here.
What is overwrite we used to refer to as overlay. Overwrite is now more standard.
We changed it to Overwrite. You can click and overwrite, drop your content into
the sequence, and work just as you always have.
And, again, use the same shortcuts that you are familiar with from those other applications.
[Adobe TV - tvadobe.com]
