Male 1: Okay Rob, so we've got the clips loaded into Adobe Premier Pro, another popular Editing tool. Let's show people how to go ahead and synchronize data. There's a few different ways. Now in the clip here, I'm going to load this up and I could see the visible two pop, Male 2: Right. Male 1: but I'm just going to turn the audio off here, because I don't actually need it. And as I go through. There it was. And if it's easier, I could switch over and take a look at the actual audio wave form. Male 2: Yep. Male 1: And I can see that pop right there.
So, I'm going to put a marker, or I can mark an in-point. Male 2: Either way. Male 1: Either way will actually work. And then we'll load up the other audio track here. And we're looking for the same thing. Okay so, we found the two pop, and again I could put a marker, or I could set it in. Male 2: Either way. Male 1: Yep. So now down here in our project, with both clips selected. Male 2: Mm-hm. Male 1: We need to merge them, right? Male 2: Right, and it's as easy as a right-click. Simply just right-click on these guys, and then if you scroll down a little bit, there's a Merge Clip Option.
So click on that. And here you can choose to name, the newly created clip that you're going to create. Now I just want to be clear about something Rich, this is our actually creating new media on disc. Male 1: It's essentially a sub clip. Male 2: Right, it's essentially a sub clip, it's merely a reference inside of your Premiere Pro project, so just keep that in mind. You know, if you have a lot of these. You're not wasting space. Creating new media. You're simply doing this virtually if you will. Inside of Premier Pro. So here we can name the actual clip. And then down under synchronization points, we have a couple different options. Now you did it, actually did it both ways.
Male 1: Yep Male 2: You did an in point and you, you used the marker. Male 1: I want to show you both options. Male 2: Right, so it doesn't really matter which one you choose. You could use in and out points, you could use clip marker. Now if you did have audio like a broadcast WAV file that had embedded time code Male 1: Yep. Male 2: and that time code matched your video clip. You could also use the time code option, but for most DSLR productions that's probably not going to be a real choice, simply because you know the way that the different cameras and audio recorders use time code. Male 1: And I'll typically remove the audio from the original clip, so just the sync sound source is left over.
Now I'm using the in point. And I click OK, and it made that. And the advantage there, is that the clip actually gets trimmed right to that in point that I set. Male 2: Absolutely. So now we, before when we did a you know, did this work inside of Final Cut Pro 10, we saw that we had a little bit of, you know, black header and black tail. But now the clip is perfectly aligned. Male 1: Now if you do that and you didn't want to trim it at the in point, you can go ahead and merge those clips and instead use the Clip Marker. And I'll do the same thing. I'll remove the audio from the original clip and hit OK.
And there's that new one that I made. And you see there, there was the marker and it pulled it off. Now in this case, the marker, because I removed the audio, that did become my new in point and it was trimmed. Male 2: Absolutely. Now, there's one more way to do this. Let's go back to the original shots and simply just willy-nilly throw them on the timeline. Male 1: Sure. Male 2: So there's your video with reference audio, and there's your reference audio from your digital audio recorder. Now you've already created markers in these files, right? So you could simply select them, right click on all of them, and then you could go down and choose the Synchronize option, right? And what the Synchronize option's going to say, how do you want me to line these clips up? So you could do Clip Marker.
And when you do that, you'll see that the clips are lined up automatically. You could now trim the audio back to match. Now that it's all lined up, you could simply remove the reference audio. Male 1: And I did that by Option or Alt+Clicking to delete it. Male 2: Yep. Male 1: And that way it was becoming unlinked, and we could pull that up. Male 2: Yep. Male 1: Select both clips. Male 2: Yep. Male 1: And basically merge them, right? Male 2: Yup. Male 1: And it's going to make a merge clipped. We'll call that merged timeline, just to keep track of all the different versions. And there it is in my bin ready to behave like a new clip.
So if I add that in, there it is, and it's actually behaving like a clip. And in this case, since my preferences were set to split stereo files into two-track mono, it actually did that style of workflow as well. Male 2: Got you. Male 1: So we're in Premier Pro. The newest version here. And they actually added the ability to synchronize clips. So, we just showed you how to do this in Premier Pro CS6 and earlier. Male 2: Uh-huh. Male 1: But we jumped into the latest version. So, the same things are there, right? You can use markers, you can merge things that way.
Male 2: You, you can merge clips, use the Synchronize command, all that, but there's a new functionality that's just crazy cool. Male 1: Yeah, so if I go ahead and I say that I want to merge these clips, one of the options is, look, there's another radio button. What do you think it does, Rob? Male 2: I'm guessing that it uses the audio from both clips and compares the wave forms together, to synchronize the clips. Male 1: Yeah, and that's going to be a huge time saver. Male 2: Yeah, it's a huge time saver, because instead of having to do this rigmarole with making markers, or adding in and out points and that kind of stuff, you can just say to Premiere Pro, hey, you figure it out.
You're an application that I paid a lot of money for, do the work for me. Male 1: Now I do recommend that you make it a little bit easier by choosing the two clips that you know go together. Male 2: Of course. Male 1: But you don't have to. But I've got that and I say OK. It's going to analyze them, so it's there. I load it. And again, there is some black up front. Male 2: Yeah. Male 1: But there it is and, let's go ahead and hit Play. Female 1: Scene three take five. Male 3: And clear, and action.
Male 4: Yeah, we're going to rip out your linkage and replace that rear main and scrub your plugs, power wash your transmission, and should be about 37. Female 1: No, thanks. Male 1: And you see that everything has been properly synced. So that's great, Rob, and that's a new addition inside the latest edition of Premiere Pro. But when we come back, we're going to take a look at a dedicated utility and that is Pluralized, which I find useful if I want to make self-contained media files. But it also interchanges with NLEs that you have on your system too. We'll be right back.
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