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In this course, author David Basulto details the latest productivity enhancements to the Premiere Pro video editing workflow. Covering preproduction through delivery, the course shows how to edit RED footage nondestructively, place and modify keyframes directly on the timeline, and export to multiple file formats with the redesigned Media Encoder.
For years high-end film production has been capturing dual system sound for their projects. With the ability to shoot amazing footage using DSLR and RED cameras more and more shooters are adding dual system sound to their workflows. But what is dual system sound? Well, being the shooter of the Canon 7D myself, I often find the audio that I get from it is really poor quality. So I use a Zoom Recorder to record just the audio separately. It's kind of like the old days where they were using the film production cameras and had a boom mic captured into an audio deck.
Since both DSLR and RED cameras don't capture sound that great, this is a huge necessity. Adobe Premiere Pro CS5 realizes this and allows you to sync these tracks and create one merged track with all the metadata. So if you look at the Timeline I created I've got A-roll PlanA_07 which is a 7D movie that we shot. Underneath it is cyclist_interview.aiff, which is my separate audio track that I recorded using the Zoom Recorder.
I can also include up to 16 audio tracks. Now if I highlight them all, right-click and choose Merge Clips. I can rename it here; I'm just going to call this Merged. Since we only have this one, this creates a new file for me containing the audio and the video, and if I go create a new sequence from it, as you can see I have my video file and four audio files all in one clip.
Using external audio devices is essential to DSLR and RED shooters wanting to capture great audio. Syncing them and merging them into a single clip makes your workflow much smoother.
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