0 Replies Latest reply on Dec 11, 2014 3:57 PM by Lane J. Wyrick

    Conforming of H.264 clips with 48k Linear Audio

    Lane J. Wyrick

      Hi all,


      I regularly shoot medical conferences and we have 2 Panasonic AC-160 cameras to videotape the speakers and 1 Atomos Ninja to record all the Powerpoint presentations (routed through an Atlona scaler).


      Anyway, when I put the three sources into the timeline, the Ninja which is Prores video/audio will immediately work in the timeline without conforming (only creating the .PEK files very quickly). But even though I have the AC-160 cameras that record H.264 are set to record 48K Linear PCM audio (a feature touted by Panasonic for editing compatibility), all of these clips need to be conformed due to the audio not being recognized in the same way as the Prores audio thus bloating the project's hard drive with .CFA files that are huge.


      When I hit "Properties" for the clips in Premiere Pro CC, here is what I get:

      Ninja: Audio 48000 Hz - 16 bit - Stereo

      AC-160: Audio 48000 Hz - compressed - Stereo


      Is the AC-160 audio being misidentified as "compressed" and therefore PPro thinks that it needs to be conformed?


      Another thing to note, when I open the clips in Quicktime 7 and get info, the audio for the Panasonic clips say the following: 16-bit Integer (Big Endian), Stereo (L R), 48.000 kHz. This is different than the "Little Endian" of the Ninja clip (16-bit Integer (Little Endian), Stereo, 48.000 kHz).


      So if there was some way for Premiere Pro to correctly identify the difference, could this be a workflow that would save hours of rendering time? Could it also be that the developers are just not aware of this alternative format yet (instead of the usual compressed audio that most H.264 cameras capture)?


      I have about 20-25 hours of footage on three different sources, so if there was a fix for this it would save me hours of time and hard drive space!




      Lane Wyrick