Join Maxim Jago for an in-depth discussion in this video Working with audio, part of Premiere Pro CS5 for Avid Editors.
Even accepting Media Composer 5's lovely new stereo as well as mono tracks on the timeline, and the new integration for audio filter effect plugins and, you know, there's things are coming a long way with Media Composer. Still, Premier Pro is far and away the bigger beast when it comes to audio tools and functionality. Whatever the reason, perhaps it's because Avid has this tight integration with Pro Tools, and so there hasn't been such a demand for built-in integrated audio tools.
Still, here we are, we've got an amazing system, in Premiere Pro. I'm going to run over, what Premiere Pro can do, and also show you some of the features that you can achieve using Sound Booth. Which is an application that comes as part of Production Premium and gives you what they describe at Adobe as audio tools for video editors. But they're pretty handy, so let's take a look. First of all, what if we want to adjust audio level on the timeline. Well I'm just going to make a simple sequence here that we can work with. Let's go for this wide shot. And I'm just going to zoom in and I'm going to make my timeline a bit bigger, so you can see what I'm doing, and I'm going to re-size Audio 1, there we go. Now, what I've got straight away, as soon as I look at my audio segment here, let's just move this up a little bit more, there we go. I've got a line here, an orange line that indicates the volume for the clip. But if I scroll back a little bit you can see I've got the name of the clip and then I've got the volume therefore.
Now this video is linked to this audio, and the way that Premiere Pro works means that if you select one you automatically select the other. So these two are linked. You can unlink by right-clicking and choosing Unlink. And if you have multiple clips on the timeline you can group and ungroup those so pretty handy for clip selection on the timeline. If I want to adjust this audio level, I can just hold down the Ctrl key and click to Add Some Keyframes and then there you go. I've done a fade up, and then what I tend to do is add the keyframes first and then if you hover the mouse, I've got no modify keys held down now, if I hover the mouse between these two keyframes and click.
I'm now adjusting the line, itself, that band. I can do the same here, and I can do the same over here. So, pretty flexible controls for adjusting audio level directly on the timeline. I can also apply some audio effects. So if I go into my audio effects list and clear out my filtered search, here. Now, I'm working on a stereo track, so I need to expand my Stereo Track Effects. And I've got a whole list of things that I could here, Notch filters, Pretty noteworthy, the queue.
And if I put one of these onto my clip, I just drag and drop, exactly as I would with a video effect. Go to Effect Controls panel, and under my Audio effects let me re-size this a little bit, there we go. There's my control of my parametric EQ, so I can set the center point. And I can have the queue width, and how much I'm going to boost or cut. So, you could have multiple parametric EQs on here. Whereas, I suppose, on another system, you might have a multi-point parametric EQ. You just have multiple parametric EQs inside the Premiere effects list.
Now, the thing to be absolutely clear about, with Premiere Pro, the one thing that will all of the difference, I think, between getting what's going on and being a little bit confused. Is, you need to know, that whenever you make changes toward here, or any thing, really, in the Effect Controls panel here, you're always working on a clip by clip basis. And this means that which ever clip I have selected, that's the one I am making changes to compared that if I just scroll over this little navigator here to the audio mixer and its kind of the reverse in the sense that any changes I make in this panel, I am just re-sizing this a little bit so you can see what's going on, any changes I make in this panel are set or track by track basis So you'll notice that at the top of my channels here, I've got audio one, audio two, audio three. I've got my latch touch right controls, read latch touch right, for that matter. And here I've got a series of effects that I could apply. And I've got mute, solo, and a record option.
I can actually set the track to record live through my sound card, or if you've got dedicated audio hardware. And effectively that makes this the Audio Punch-in tool for Avid so, but I can do it on multiple tracks if I've got multiple sources, up inside the audio mixer I've got range of effects and I am going to just so on to my range of effects I could may be again choose that there it is. And straight away, this is giving me the options for the frequency points, and then the queue width, and then the boost.
So it's actually the same effect as the one that I have under the Effects panel over here, but I'm getting access to it in the context of this audio mixer, and therefore I know that I'm applying that change to the track and not to the clip. And this is something you just can not in Media Composer. One other little note on the subject of effect inside the audio mixer is just here. If you have effect selected, you can turn the application of the effect on or off. So if I had another effect for example, maybe a high pass filter I can set the cutoff frequency. Again, I can choose which of these I'm seeing the settings for at the bottom of the list.
Down in here, I've got the option to create sub-mixes. Now, a sub-mix is an audio channel like any other with the distinction that it doesn't have its own source. The audio that comes in to a sub-mix would actually be other tracks. So for example, if my audio one, two and three all had people who were in a cave system and I wanted it to sound like they had the same echo, then I would simply choose to create a stereo sub-mix, there's my submix. It's appeared on the list and then for audio two and three, do the same, choose the same submix, there it is and now when I select that submix I'm specifying how much of the volume's going to go to it which is distinct from this option down here which is the post fader submix.
So what I've got is, this is just like a mixing desk. I've got a Pre-fader control which is allowing me to send some of my audio before the Fader adjustment. And then I've got a Post-fader control. And if I wanted to, if I make, for example another sub-mix. Let's make a sub-mix two, I'll just clear that first of all. So I've got Submix 1 and Submix 2, and I can have these go to Submix 2. Effectively, this means I've got a wet and a dry control of my effects, and all of those advanced tools that you'd like to have that you'd probably normally expect to get just in Pro Tools. Under this Submix I can now add an effect like.
Maybe a delay or something like a delay would be fine. And now I can introduce that delay effect. And all three of these channels 1, 2, and 3, will go through that one effect. So, it's more efficient in terms of CPU processing power. It's also more efficient of you clicking on things, because you don't have to adjust the effect for every individual clip. Or rather I should say every individual track. Down here I've got my fader controls. This is all very much stuff you should be familiar with from working with media composer.
I could go to in, go to out, play, play in to out, loop play and the all important record button. So if I record enable any of these tracks and then hit the record button I'll be recording live onto my timeline via the audio mixer from whatever my live source is. If you're used to working with audio in Avid you'll probably find most of the controls in the audio mixer are pretty familiar. But it's worth just making sure you're really clear about this distinction that the audio mixer is always making adjustments on a track basis and the effect controls are always making adjustments on a clip basis.
because then, clears well, you'll notice on the timeline since I added those two sub mixers and I can just resize a little bit here. You can see that I've got a submix one and a submix two turn up. And this is so that if I want to, I can do rubber banding on the timeline for the submixes. So, you can begin to see how fantastic the audio controls are in Premiere Pro. You really need to know what you're doing, though, because you can end up clicking on the wrong tool, and wondering why it's not working the way it ought to. Or rather, not working the way you thought it ought to. If I just zoom out a little bit, one last thing to mention is, if you want to separate your video and audio, you can always right-click and Unlink.
But another way to do it is to hold down the O key when you click and drag the Trim Clip. As I'm doing now, you click the Option key on a Mac and that will allow you to make adjustments to the clips independently of one another. Now, there are Sync Locks on the timeline. Here they are, these are the Sync Lock switches, and there are Padlocks to stop you making mistakes. But if I hold down the Alt key and click and drag, then Premier Pro also gives me these lovely numbers. It's a little bit like Avid jumping and popping up with the red numbers to show you how out of sync you are, with the added benefit that if I click on this, or right-click on it rather and Ctrl+Click, I can set Premier Pro to move the clip back into sync with the original file, or even to do a slip trim.
If I just do that again I can set this into a slip trim to slip back into sync. So it's pretty nice, easy, smooth to use, and it tells you what's going, and obviously, if I had a long, complex timeline that I knocked out of sync perhaps by trimming, it just lights up like a Christmas tree, and you know straightaway where you've gone wrong, and you can see where the problem begins. So, adding effects is a question of dragging and dropping. Changing the effects settings is a question of going in to the effect controls panel. Let's do my phaser here, there we are.
Into the effect controls panel, and adjusting the effects, or if you want to do track-based effects, you do that in the audio mixer. That's the audio in Premiere Pro CS5.
- How Premiere Pro works
- Getting set up
- Creating sequences
- Applying effects, color correction, and opacity
- Titles and metadata
- Integrating Premiere Pro with other applications
- Working with audio
- Outputting video