Movie Audio into DP is fantastic

[MIDI Life Crisis]

I agree, it would be nice to bounce audio from the movie, but I totally get the why behind "you can't" and importing - while always something of a PITA - isn't all that hard to do. That's wht god invented TB drives.

[blue]

Yeah, I don't mind importing the audio. It's the constant shifting around that gets old fast. Every time you change a start time you have to shift the audio. Not a huge deal, and something I've gotten used to doing, but NOT having to do it would be more efficient.

One thing I've never gotten to work is locking tracks that contain production audio. Shouldn't that lock the audio to SMPTE, and keep you from having to manually re-sync every time a start time is shifted, or am I missing something?

[MIDI Life Crisis]

Do you understand time stamping? Re-visit (or visit) that section of the manual. Properly set time and soundbite preferences will result in audio clips being perfectly placed in relation to the movie.

[blue]

I do understand time stamping (check my earlier post), but my audio doesn't budge until I make it budge my selecting "Move to Original/User Timestamp."

What I don't understand is track locking in DP and how it applies to audio tracks. According to the manual, locked tracks should stay locked to SMPTE and not mensural time, but in my experience they don't actually do that. If I change the SMPTE start of a cue, the audio stays where it is until I manually move it to its timestamp.

[MIDI Life Crisis]

OK, try this: When you import the clip you want to use, drag it into the left of the tracks window (not into an existing track). If it is time stamped it will (should) jump to the original time stamp.

[blue]

Oh yeah, that's always worked. But what about timestamped files that already live within the sequence? They should automatically snap to their timestamp when you shift the chunk start time, so long as they are track-locked.

[MIDI Life Crisis]

Yes, they should. I'll try that later today and see what I can do to make it work as expected or if it works on my machine the way you describe.

[waitsongs]

There's another way to handle this that saves time and disk space and hassle. Rather than import movie audio per cue, you can import the entire audio into a master chunk that is set to the same timecode start as the movie. The imported audio will be timestamped. When you go to start a new cue, you just duplicate that master chunk, set a new start time for the cue, then select the audio and "move to original timestamp." Boom! The audio is shifted and in sync with picture, without creating new a audio file (just a new soundbite).

Thanks for this tip! I've always done the first part, duplicating a master chunk with full length movie audio, but then I've manually edited the full length track in the new chunk to start at the timecode for the cue. I never thought to just move it to original time stamp!

[blue]

You're welcome!

[frankf]

There's another way to handle this that saves time and disk space and hassle. Rather than import movie audio per cue, you can import the entire audio into a master chunk that is set to the same timecode start as the movie. The imported audio will be timestamped. When you go to start a new cue, you just duplicate that master chunk, set a new start time for the cue, then select the audio and "move to original timestamp." Boom! The audio is shifted and in sync with picture, without creating new a audio file (just a new soundbite).
.

As an alternative, you can spot IN/OUT Markers for the cue in the Master sequence, select the time between them by clicking on the IN marker, making sure Smart Edit is Off and the conductor tracks included, then invoke the Copy Selection to New Sequence command. A pop up will allow you to set the name and other options, plus the new sequence start will already be filled in by DP. No typing but for the name, no moving to time stamp. DP does it automatically.

You still have to get your tracks into the new sequence in either method.



Frank Ferrucci

[kinnylandrum]

Thanks for this tip! I've always done the first part, duplicating a master chunk with full length movie audio, but then I've manually edited the full length track in the new chunk to start at the timecode for the cue. I never thought to just move it to original time stamp!

Likewise, thanks for this tip. I'll try it soon.

[blue]

Yup, Frank, that works too. The thing I like about timestamps, though, is they give you some flexibility if and when you want to change the start time of a cue.

[frankf]

Yup, Frank, that works too. The thing I like about timestamps, though, is they give you some flexibility if and when you want to change the start time of a cue.

Blue,
When you apply the method I described, the Soundbite that "goes" to the new sequence, gets the time stamp of its location in the master sequence. If you change the start time of the sequence, you can still use "move to original time stamp" to position it if need be. I've never tried your approach, but will check it out. Thanks for laying out another way to get therein DP.


Frank Ferrucci

[blue]

Frank,

Of course, you're right. I somehow forgot about that.

I can see now how your method saves a step. I was using markers for cue starts in my master chunk, too, but I would navigate to them in the newly created chunk, set the new start time in the sequence and then move the audio. This does all that in one step. Awesome!

Thanks.

[frankf]

If you try this, just make sure Smart Edit is off, otherwise when you click on the IN marker, the Selection will be "rounded" and not accurate. I've been bit by this a few times.


Frank Ferrucci