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Using sample rate for precise editing

From: Premiere Pro CS4 Beyond the Basics

Video: Using sample rate for precise editing

Typically, when editing video, you have as many choices as your frame rate will allow. For example, this clip here is about 24 frames per second, which means we have 24 editing choices per second. If we had 30 frames per second or 60 frames per second, we would have 30 or 60 choices to make, respectively. Now most of the time, even 24 frames per second is fine. It's enough choices to get what you need done. But sometimes when you need really precise editing, especially when you're editing dialog and you maybe need to edit out a word, it helps to be able to edit at the sample rate.

Using sample rate for precise editing

Typically, when editing video, you have as many choices as your frame rate will allow. For example, this clip here is about 24 frames per second, which means we have 24 editing choices per second. If we had 30 frames per second or 60 frames per second, we would have 30 or 60 choices to make, respectively. Now most of the time, even 24 frames per second is fine. It's enough choices to get what you need done. But sometimes when you need really precise editing, especially when you're editing dialog and you maybe need to edit out a word, it helps to be able to edit at the sample rate.

So as I mentioned, for this clip here, we have 24 frames per second. So we have 24 different editing possibilities per second. But if we edit at the sample rate, as we can see here the Sample Rate is 48K, in other words, 48,000. Then that would enable us to have 48,000 editing choices per second, which really allows for very fine and precise editing of video. So here in this clip, now let me explain you what's going on here. The actress says, "sir." Let's just listen to it.

(Actress: Sir, I would love to help you with this.) So, she basically says, 'Sir, I'd love to help you with this.' As I mentioned in chapter one, we're trying to make this movie really, really fast. As it turned out, after she filmed this, we realized that we have far more female voice actresses than male voice actors. So we needed her to not say, 'sir', and of course, there is no time for us to re-shoot this, so what I had to do, as the sound guy, was to edit out her saying the word 'sir' and so I had to get in here and the frame rate sometimes really just doesn't give us that flexibility.

So this little pile of mess right here, this is the word 'sir'. So we need to get rid of that word 'sir', but, again, as you can see by these big blocks here, once you zoom in very closely with the Plus key, you can see that these big blocks, which is representing from frame to frame, sometimes don't really coincide with what you need to edit. So you go to the flyout menu of the Timeline panel, over here on the right-hand side of the interface, and choose Show Audio Time Units and as I do this, notice the current time display over here in the left-hand side of the Timeline panel, watch that change.

Right now, it's showing hours, minutes, seconds, and frames, and once I say Show Audio Time Units, that will change to hours, minutes, seconds, and samples. So now I can click-and-drag on this and you can see the current time indicator is barely moving as I am scrubbing quite wildly on this because we have 48,000 editing choices per second. So there is a lot of control, a lot of flexibility there. So what I might do, in this case, is un-target the Video 1 track and target the Audio 1 track, and I am going to hit Command or Ctrl+K on the PC to splice the audio right there and I am going to back up a little bit.

I am going to scrub the audio to see where she starts the S sound. We can't really see that, here in the audio waveform, but we can hear it. Right there. You hear that. It's very faint and I am sure coming through a training video, it's been compressed for web viewing. That might be difficult to hear, but just trust me, it's there. So what I am going to do is go ahead and hit Command+K again to splice that, making sure that I am on the right frame before she actually has pronounced the S.

I'm going to grab this rubber band, and just for time's sake, I am just going to drag this down to mute this clip. Now this is not really to focus in this tutorial so I don't really want to take time to do this, but in a real-world situation, there is basically some audio noise here even though there is nothing really going on. If I just play that back a real quick, see how there is just, it's like some just kind of room tone? Well, what we need to do is copy that room tone over and have this because it's going to sound awkward to go from room tone to silence but again, that's not really to focus in the tutorial, so what we want to focus on is how accurate we are able to get to get rid of the 'sir' word in the beginning of her statement, there.

Let's look at that and see how it worked out. Okay, so it sounds now, if you didn't know and if we had some room tone here, it would sound as she was just saying, "I would love to help you with your problem." I think, from a visual standpoint, if you didn't hear the word 'sir', that there really wouldn't be any click or cue to the audience that she actually said something that we removed. And you can get that level of editing by going down to the Sample Rate level and adjusting and making the necessary edits that you need to.

You could also, if we cut too much or didn't cut quite enough here, what we can do is select the Rolling Edit tool and we can click on this edit point and move this and as you can see it from the tooltip that pops-up, we're actually changing this cut point again at the sample level so we can make really precise cuts with the Rolling Edit tool as well. Now, while this a very handy trick and sometimes you absolutely desperately need it in order to make the cleanest cuts possible, I don't recommend doing this all the time. I once thought, when I found this trick, I was like "You know, I am going to do this all the time.

"I am kind of an audio guy, anyways. "This makes sense to me. I'll just edit the sample level for everything." But it gets to be too many choices, too confusing and so I don't recommend always being in this mode. I make the change that I need, at the Sample Rate level, and I go back here and I disable Show Audio Time Units.

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This video is part of

Image for Premiere Pro CS4 Beyond the Basics
Premiere Pro CS4 Beyond the Basics

82 video lessons · 20359 viewers

Chad Perkins
Author

 
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  1. 4m 11s
    1. Welcome
      56s
    2. What's new in the dot release
      57s
    3. Using the exercise files
      2m 18s
  2. 18m 54s
    1. Capturing ambient audio
      3m 12s
    2. Getting plenty of coverage
      1m 48s
    3. Telling a story with camera angles
      3m 18s
    4. The 180 degree rule
      2m 13s
    5. Framing shots
      3m 25s
    6. Allowing "emotional space"
      1m 40s
    7. Overcranking and time lapse
      3m 18s
  3. 11m 38s
    1. Why is metadata important?
      1m 40s
    2. Browsing and adding metadata
      6m 4s
    3. Creating metadata with Speech Search
      3m 54s
  4. 33m 12s
    1. When to cut
      7m 38s
    2. Avoiding bad edits
      9m 17s
    3. Using emotional cutaways
      1m 53s
    4. Fixing problems with cutaways
      3m 53s
    5. Pacing edits
      3m 49s
    6. Matching action
      4m 14s
    7. The power of suggestive editing
      2m 28s
  5. 26m 31s
    1. Contrasting targeting and selecting
      3m 17s
    2. Copying and pasting clips
      2m 36s
    3. Replacing clips
      4m 8s
    4. Editing to music
      5m 0s
    5. Using sample rate for precise editing
      5m 34s
    6. Creating J and L cuts
      3m 33s
    7. Working with subclips
      2m 23s
  6. 11m 17s
    1. Ingesting media
      1m 39s
    2. Examining P2 file structure
      1m 31s
    3. Importing P2 files with the Media Browser
      5m 15s
    4. Converting DVCPRO HD to standard 720p
      2m 52s
  7. 38m 11s
    1. Using the Reference Monitor
      3m 0s
    2. Using scopes
      8m 33s
    3. Primary color correction
      10m 11s
    4. Secondary color correction
      8m 28s
    5. Creating a vignette
      2m 28s
    6. Creating a day-for-night shot
      5m 31s
  8. 37m 19s
    1. Censoring video
      5m 30s
    2. Creating a waving flag
      6m 5s
    3. Creating a lens flare
      3m 36s
    4. Creating background textures
      6m 19s
    5. Playing with time
      6m 4s
    6. Using transition effects
      6m 13s
    7. Working with presets
      3m 32s
  9. 15m 30s
    1. Creating a garbage matte
      3m 56s
    2. Removing green screen
      5m 6s
    3. Compositing with blend modes
      3m 32s
    4. Nesting sequences
      2m 56s
  10. 15m 27s
    1. Creating 3D reflections
      5m 0s
    2. Creating growing vines
      5m 52s
    3. Creating a track matte
      2m 39s
    4. Using the History panel
      1m 56s
  11. 42m 25s
    1. Censoring audio using bleeps
      5m 16s
    2. Understanding sample rate
      3m 0s
    3. Normalizing audio across multiple clips
      5m 7s
    4. Recording audio
      2m 24s
    5. Removing audio problems with Soundbooth
      5m 43s
    6. Working with VST plug-in effects
      2m 3s
    7. Mixing audio
      8m 20s
    8. Changing volume over time
      5m 22s
    9. Working with surround sound
      5m 10s
  12. 23m 52s
    1. About this project
      2m 26s
    2. Performing preliminary edits
      2m 35s
    3. Working with multi-camera footage
      7m 27s
    4. Creating a visual "stutter"
      3m 12s
    5. Adjusting color
      8m 12s
  13. 6m 28s
    1. Transferring projects to another machine
      3m 24s
    2. Removing unused footage
      3m 4s
  14. 25m 46s
    1. Choosing a format
      5m 35s
    2. Understanding spatial compression
      2m 5s
    3. Understanding temporal compression
      4m 19s
    4. About HD standards
      5m 46s
    5. Changing footage interpretation
      2m 17s
    6. Getting the film look
      5m 44s
  15. 27m 10s
    1. Working with After Effects
      5m 56s
    2. Creating titles in After Effects
      5m 39s
    3. Working with Photoshop files
      2m 29s
    4. Working with Final Cut Pro
      2m 2s
    5. Working with OnLocation
      3m 12s
    6. Working with Encore
      4m 27s
    7. Introducing Adobe Story for pre-production
      3m 25s
  16. 15s
    1. Goodbye
      15s

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