holymexicobatman
Well-known member
Hey everyone,
Okay, I'm the Edit-Assist for a full-length documentary. We are shooting on C300's(80%), 5DmkIII(10%), and gopro & button cam(10%). Cutting in Premiere Pro CC.
I was brought in about half-way through principle photography. By the end of production, we expect to have shot around 400 hours. We are also recording with dual system audio onto a Zaxcom Nomad. So because of the large amount of footage and the fact that we are using a dual audio system, we decided NOT to edit native. Instead we are transcoding all footage from all sources to ProRes 422 HQ(master/mezzanine) on the front-end before we start cutting. Okay pretty straight forward...
My issue: For each unique video clip we create a prores mov file. In this file we want to keep the original scratch/on-board audio tracks and also combine+sync the correlating audio tracks from the nomad. What is the most efficient way to do this? The nomad is recording a 5-channel mono wav file. So far, I've just been combining and syncing all assets in a Premiere timeline. But this is a bit inefficient and I'm a little confused about the best audio settings to preserve all 7 tracks of audio while not being forced to create panned stereo pairs.
Thoughts?
Thanks in advanced!!
P.S. Most of the source audio files are already timecode synced(via a pair of timecode buddies) but some of the shoots had issues in the field and the TC is off and has to be manually synced either with a head/tail clap or plural-eyes.
Okay, I'm the Edit-Assist for a full-length documentary. We are shooting on C300's(80%), 5DmkIII(10%), and gopro & button cam(10%). Cutting in Premiere Pro CC.
I was brought in about half-way through principle photography. By the end of production, we expect to have shot around 400 hours. We are also recording with dual system audio onto a Zaxcom Nomad. So because of the large amount of footage and the fact that we are using a dual audio system, we decided NOT to edit native. Instead we are transcoding all footage from all sources to ProRes 422 HQ(master/mezzanine) on the front-end before we start cutting. Okay pretty straight forward...
My issue: For each unique video clip we create a prores mov file. In this file we want to keep the original scratch/on-board audio tracks and also combine+sync the correlating audio tracks from the nomad. What is the most efficient way to do this? The nomad is recording a 5-channel mono wav file. So far, I've just been combining and syncing all assets in a Premiere timeline. But this is a bit inefficient and I'm a little confused about the best audio settings to preserve all 7 tracks of audio while not being forced to create panned stereo pairs.
Thoughts?
Thanks in advanced!!
P.S. Most of the source audio files are already timecode synced(via a pair of timecode buddies) but some of the shoots had issues in the field and the TC is off and has to be manually synced either with a head/tail clap or plural-eyes.