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Shot in the dark: try changing the Audio Channels default track format option in Preferences > Audio from "Use File" to "Stereo." This is a program-wide preference, and not a project preference, so create a new project and import the XML into it. Not sure if that will work, but it may force the dual mono source footage to be interpreted as stereo. You have to do this with a new project and fresh import, since as you know, you can't change the audio channel mapping after a clip has been used.
Again, since this is program-wide--and assuming it actually works!--you will probably want to reset that preference after you import the XML, unless that's how you want ALL dual mono imported.
Many thanks for your reply - I will try that and report back.
Good luck! If that doesn't work, there may some other workarounds at the sequence level.
Didn't make any difference unfortunately - makes sense that it would do though.
Offline now until tomorrow but any other suggestions much appreciated.
Hmm... bummer. I suppose since the "mononess" is cooked into the XML, there's no getting around that.
So, perhaps you can elucidate: what exactly do you want to do when you say "edit the left and right at the same time?" Are these dual mono clips from a camera capture/import? Or do you have clips you grouped/linked in a sequence with duplicated mono? I'm trying to get a grasp on what the situation is, so as to make a better recommendation. I'm sure there's a relatively painless solution, but I want to be sure not to throw out a bunch of bum suggestions
Basically it's duplicated mono which I get from the camera, i.e. I send one input to two channels. These come into FCP as two monos (plus two others which I normally delete as I shoot DVCPro HD).
I'll then create a stereo pair out of these two channels so I can keyframe simultaneously the left and right.
It seems that either the XML or PPro doesn't recognise this stereo pairing and treats them as mono channels.
I wonder if all audio from FCP is translated to mono when exported to XML and imported into Premiere ?
If this is the case it's either a severe limitation of the XML process or perhaps a bug ?
It wouldn't be so much of an issue if you could create a stereo pair on the PPro timeline or if it would let you modify the channels on the clips prior to opening the sequence as usual but it doesn't.
Off home now, hopefully there's a workaround.
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Here is a possible workaround.
Open the FCP XML file in Au. As you said, this shows two mono files in MT. Now export the MT session to Pr Pro -- Multitrack/Export to Premiere Pro. Choose the mixdown session option/stereo. This shouldl give you an XML file that Pr will accept and show with a single stereo track. I've only tried it with FCP XML files exported from Au, but maybe it will also work for your XML files from FCP.
Or, even easier if all you want todo is add keyframes and change levels, you can do this using the master track in Premiere.
I would have created a Submix track in Premiere Pro and used the Track Output Assignment in the Audio Mixer to send each one of the two mono tracks to the stereo Submix. Then, set the keyframes on the Submix track to raise/lower the volume on both mono tracks simultaneously.
If true stereo, pan the mono channels to left/right to keep the stereo integrety.
Big thanks to all. I've tried the various solutions and they do work but are limited.
Using Auditon creates exactly what I want in terms of a stereo track but I would then have to sync it to the video again which is not ideal.
Using the master track affects all the tracks - I typically have 3 or four so the master would affect all at the same time rather than individual tracks.
A submix works but I can't see the waveform so is a little clumsy.
Please correct me if I'm wrong in any of the above.
I suspect there isn't an ideal solution simply becasue of the way Premiere handles 'dual mono as stereo' tracks.
It would be nice to be able to simply create a stero track out of two mono tracks directly on the timeline, I suspect this might happen eventually !
Thanks to all again.
You could create a nested sequence with mono tracks but a stereo master track. In the nested sequence, you'd just have to pan the mono tracks the way you wanted, but then using the nest in your final sequence would let it behave as a stereo clip, and you can adjust both channels simultaneously.
A final word. I reckon the submix solution is the best and workable, however the reason I brought my FCP project into Premiere in the first place was to then work on the audio in Audition. Of course, when I send it to Audition I have the same issue, it treats l and r as separate channels.
On the bright side, the times I will need to go from FCP to Premiere are going to be few so I'm not too worried.
Thanks to all.
Sorry Colin, didn't see you last post before I posted my final word. I will look into nesting as another option. As I said in my last post, the times when I will need to go from FCP to Premiere are limited and I was really hoping to use Audition from the Premiere timeline.
Thanks for posting , appreciated.
Quite alright. As you've discovered, this is a bit of sticky wicket, largely due to the differences in audio handling between the two applications. Any workaround at this point is just that--a workaround. The translation from FCP XML to Premiere Pro project can only go so far as what the application allows, so until the destination application--in this case, Premiere Pro--changes to allow such things, we're a bit hamstrung. Whether Premiere Pro changes or whether the need for the translation simply decreases (as seems to be your situation!), we'll all have to wait and see
Anyway, good luck, and be sure to update this thread when you've settled on the best workflow. I'm sure it will benefit other users who discover the same issue.