Hmm. I just read that in the article above.
Part of editing is emotional connection to the content. Munchkin voice while seeking diminishes my connection to the material. Imagine you are reading a mystery novel and you're getting to the best part, and a character's name comes up, and you flip back a few pages to remember who the character is... But as you flip, someone reads to you like they have been sucking helium. Kind of ruins the mood.
Those of us who came over from Avid and FCP are used to fast playback without a pitch-shift. It might be accomplished by skipping through bits of audio or by applying a pitch-shift to lower... the pitch. How ever it is accomplished, the result is that you can scan and search footage without being destracted.
Did you try adding the Shift key?
If you don't like the way audio is interpreted while shuttling, please make a feature request: http://www.adobe.com/go/wish
Those of us who came over from Avid...
BTW, Avid shifts the pitch just like Premiere Pro. FCP is alone in the way it handles audio when shuttling, in my experience.
Hmm. I just read that in the article above.
Part of editing is emotional connection to the content. Munchkin voice while seeking diminishes my connection to the material.
We old time linear guys are used to audio sounding like that when fast forwarding or rewinding tapes on the heads. Audio shifting pitch while fast forwarding or rewinding is nothing revelatory. In fact, it's the norm.
I used to edit on flatbed, probably before you were editing on tape. Does that make me an old time linear guy? I like this new thingy called a computer... and like that the software keeps getting better, and that editing changes as time goes by. One positive technical advancement is keeping the chipmunks out of the edit suite.
Actually, film is the first "non-linear editor."
Again, if you'd rather have audio handled FCP style when shuttling (and not the way Avid and Premiere Pro handles it), make a feature request: http://www.adobe.com/go/wish
Actually, if scrubbing on a Moviola, or similar flat-bed, one had to mute the Audio, to keep from hearing the pitch-shift. I agree that it is not pleasant to hear, but once sync was locked, one did not unlock it.
It was the same with rewinds and a sync-block, in both 16mm & 35mm.
As we only had mono Audio, it was simply a matter of turning down the gain on the one studio monitor, so no big deal. Actually, once sync had been established, we often turned that monitor off, or very low, until it came time to do some edits with the Audio.
Now, a quick and easy off button would not be a bad thing.
Hunt, another old-timer, from a time when Video was a 2" tape, and was only editable with a razor blade, a cutting block and some tape.
Hi! How can I match a frame the other direction, from Source Monitor back to Timeline? In other words, I click on a Clip Instance in Timeline to open it in Source Monitor, then find a specific frame in the Source Monitor, and I want the playhead in Timeline to point to that frame. In FCP there is a button for that; I can't seem to find an equivalent in PP. Help please - Thanks!
You could right click you video in the timeline and and increase the playspeed and click the "maintain audio pitch" button. This will speed playback up but keep the audio pitch just fine.
I use that in FCP all the time to find the exact frame where I want to make a new edit.
Find it in the sequence directly. There's no need to add two extra steps of loading the clip in the Source Monitor and then trying to go back to the sequence.
There are many cases where it's much easier to find an editing point in the Source Monitor than in Timeline. For example, if there are multiple video tracks, and I want to find a particular frame on Track 1. I can't see Track 1 video in the Timeline display panel unless I click off the other video tracks or something like that. But if I bring that clip into the Source Monitor, I can easily find the frame there and (on FCP) match it back to the Timeline with one button click.
Or, if I want to find a particular point in an audio track. If I bring that clip into the Source Monitor and display it in Waveform (which is just a tab click in FCP, but is in a menu in PP), I can find the exact point much easier, since I have the Waveform as reference, can scrub much better than in Timeline, and don't have other audio tracks interfering.
When I worked in FCP, I considered the Timeline where I arrange the clips, and Source Monitor (or Viewer) where I work on the individual clips (or "clip instances"). That's very helpful when the Timeline is displaying a long, multi-track sequence. I'm disappointed to lose that ability in PP - unless there is a workaround of some sort...
No work around as yet, other than doing the work in the sequence directly.
You may have to shut off higher tracks, or expand the audio track to see the waveform better, but this will still get you there.
There are many cases where it's much easier to find an editing point in the Source Monitor than in Timeline.
A workaround for you.
Create a shortcut key to "Gang Source and Program Monitors.
Dble click your clip from the timeline and it will open in the Source Monitor. (or Matchframe "F")
Use your shortcut to "Gang Source and Program Monitors"
Find your frame and the CTI will track it in the Timeline
WOW!! That's great!! It took me a little while to find "Gang Source and Program Monitors" - for some reason it's not in the Help at all - but yes, this is an acceptable workaround! I assigned it shorcut key "G", which is conveniently next to "F", so now I can "connect" the two again! It's not the same process as how I did it in FCP, but I can achieve the same result. The funny thing is that I have to do "G" right after I do "F" to bring the clip into Source Monitor. If I move the playhead in Source Monitor first and then do "G", the playhead in Timeline will start moving together with the playhead in Source Monitor but they will stay off-sync, which makes it useless. ALSO, double-click on a clip in Timeline doesn't typically bring up the same frame in Source Monitor, even if the playhead is in the clip - the very first time it does but later on the playhead in Source Monitor just goes to where it was last - so if I want to do any "G" work, I have to start with using "F", which has its own quirks in terms of which clip it brings up (NOT necessarily the currently selected clip, even if the playhead is within it). Did all that make sense?? Yeah, it was a lot of behavior patterns to figure out, especially since the Help is not much help...
Gee, I feel a little pathetic that I am so excited over such a tenuous and problematic workaround, but I will take it... It was a major aspect of my workflow in FCP and it would be very frustrating to give it up in PP. Thank you, shooternz :-)
Thanks for bringing up the fact that there is little info on ganging the Source and Program monitors in Help. Only ganging the Program and Reference monitors. I'll put that down as a "to do" on my backlog. Thanks!
Ganging Program and Reference monitors: http://help.adobe.com/en_US/premierepro/cs/using/WSCB566F37-A8BA-4b43- 8BD2-B6467AAE930E.html#WSEA7C74AA-55EF-4359-931B-EADD3480B811
Glad it worked for you.
I also use G as the shortcut key.
Yes ..you must Gang immediately if you want frame relating to frame. (Sometimes it might be helpful to use an offset though).
I guess you worked out which Ganging to shortcut to.
Tip. If your clip in the timeline is buried under other video layers..you may need to un target the tracks above so that Match Frame works on the clip of choice.
Jim - The playhead in Timeline will stay within the clip when the playhead in Source goes out of bound. And it will start moving again (correctly) when the playhead in Source comes back in bound. That part is actually quite neat.
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