When I delivered my previous audio book to ACX, I remember that one of their requirements was that the audio peak levels should come in at -3dB. I also remember that threw was a super easy way for me to do this in Premiere Pro, the software I use for editing my files. I wanted to do the same thing this week, but I couldn’t for the life of me remember how to dot it!
Consulting this website – as I do from time to time – I couldn’t find a note. Perhaps I didn’t write this vital part down the last time. Let me do it right away, now that I’ve found out how to do it (again).
My first though was that it must be an audio effect we drag onto the timeline in question. But that’s not what I wanted to do. I was happy with the dynamics, I didn’t need to do any compressing or filtering. Instead, it’s as easy as right-clicking on a clip in the timeline and selecting Audio Gain. We can also press the G shortcut to bring up this menu.
This will open a modal dialogue with several options.
The one I needed was Normalize Max Peak to -3dB. This will look through the selected clip(s), find the highest peak, and adjust it to the value of your choice. The All Peaks option below of it would do the same for every single clip on the timeline. While powerful during video editing, it may not be what we want in this case of editing an audio book. It would likely make quieter passages louder at edit points, leading to an uneven listening experience.
To use this technique with various clips, either select all clips before running this command, or create a new sequence from your sequence and run the command on that.
Larry Jordan has written an article that explains more in-depth what this dialogue does. Thank for sharing, Larry!
I recently had a clip in which the audio was only present on a single channel. Trying to edit that in iMovie proved impossible, because iMovie doesn’t have a way to deal with single tracks of audio. So I thought, I’m sure Premiere can do that.
The question was… how? It had occurred to me that I’ve never needed this feature in over 20 years of working with it.
I hunted around for less than one minute and found it – I thought I’d better write it down before I forget it again.
The trick to solve this puzzle was to open the Audio Effects palette and drag either Fill Left or Fill Right onto the audio track in question. This will double either channel onto the other one, ignoring whichever one is being filled in.
In my case, I had audio only on the left channel, and by my definition, I wanted my (empty) right channel to be filled with whatever was on the left channel.
Premiere does – of course – do the exact opposite: Fill Left will TAKE the left channel and FILL IN the right channel. And vice versa. Lucky for us there are only two of these options (at least in my version of Premiere Pro from 2011), so if Fill Left doesn’t do what you expect… try Fill Right 🤔
Even my ageing version of Premiere Pro CS 5.5 has multi-camera editing capabilities built in. And even my ageing Mac Mini from 2012 can cope with full HD clips during those edits.
It’s a slightly mysterious process, and until very recently I didn’t quite know how to do it, but with my desire to do multi-camera interviews with inspirational people, it’s something wanted to research. This workflow is also helpful if you have a single camera feed and want to switch live (vision mixer style) to zoomed-in versions of the same.
Now I know how to do it (works fine in present versions of Premiere Pro too). Before I forget this concept again, I thought I’d better write it down and share it with you (and my future me).
In short, we need to
drag all camera clips into a timeline (all on top of each other)
sync all clips in this timeline (then select them all, right-click and choose “synchronise”)
create a new sequence from that sequence
enable multi camera on that clip
open the multi camera monitor, press play and switch live between cameras, creating edits on the fly
I made some new lower-third captions for my YouTube channel in Premiere the other day. I had a vision for some animations, and rather than spend several hundred dollars on pre-made snazzy clips, I thought I’d take on the task myself.
For those to be usable on top of other video footage in my screen casting software (Camtasia Studio 3), I needed the animations to be rendered out with an Alpha Channel. That way a mask is automatically created, letting other programmes crop out everything around the titles.
Since I never had to do that before, I asked myself: How do we render a clip with an alpha channel in Premiere?
After careful research, combined with some tireless trial and error, I found the solution to this puzzle – and here’s how to do it.
I recently had the need to encode several audio clips I had edited in Adobe Premiere Pro CS 5.5. That’s easy if you export one timeline at a time, by selecting the sequence, then click File – Export – Media.
But this principle doesn’t work if you haveseveral sequences that need to be exported.
An article in the Adobe Forums suggests how to do this using After Effects as an intermediary, but it seemed very convoluted and a total hack. Besides, I don’t have After Effects so that’s not really a solution.
Convinced that there had to be a better way, I had a quick fiddle – and lucky for me I’ve discovered an easy workaround that I’ll share with you here. I’m using Premiere Pro CS 5.5, so I’m assuming it’ll work in later versions too.
I had some editing to do the other day that, for one reason or another, I wanted to do on my Windows machine. I tried several open-source utilities, but none of them can cut the mustard like Adobe Premiere Pro can.
However, the only legitimate version I have is Premiere Pro CS3, vintage 2007, purchased for good money back then (which I’ve all made back, thanks to a three-day editing job I got for BBC interactive, literally a week after I bought it). Those were the days before Full HD video was commonplace, and way before anyone dared to mention the idea of 4K. But I digress.
So I tried to install Premiere under Windows 10, and to my surprise all worked rather well – until the registration part came and told me that this app could no longer be activated.
Here’s a list of handy keyboard shortcuts for Adobe Premiere Pro. I keep forgetting these little helpers every 6 months or so…
By no means an extensive or complete list, here are the ones that I like using:
SPACE – Playback at 100%
K – Stop
J – Play 100% backwards (multiple presses accelerates back)
L – Play 100% forwards (multiple presses accelerates forwards)
Left Cursor – step forward one frame
Right Cursor – step back one frame
\ (Backslash) – toggle between zoomed in and full view of the timeline
Fn + Up (or Page Up) – jump to the next edit point
Fn + Down (or Page Down) – jump to the previous edit point
Fn + Left – jump to the beginning of the sequence
Fn + Right – jump to the end of the sequence
V – Selection Tool
B – Ripple Edit Tool
N – Rolling Edit Tool
X – Rate Stretch Tool
C – Razor Tool
Import / Export
CMD/CTRL+M – Export Media
CMD+I – Import Media
Create your own Shortcuts
Premiere has a handy menu in which we can lookup existing shortcuts, as well as setup our own. There are so many functions, and not all of them have pre-defined shortcuts. Head over to Premiere Pro – Shortcuts and save whole sets of shortcut setups.
Needless to say, we can also change existing shortcuts to something more personal here.
I recently recorded a quick voiceover in Adobe Premiere Pro CS 5.5, but I ran into an issue for which the fix wasn’t exactly obvious. Here’s the problem:
When you mark a track to record some audio and start the recording, the full mix is being played back through your speakers (or headphones). This includes your own voice with a small delay which is useful in a studio setup, but not so much when you’re the only operator on the setup.
How can we turn it off? Turns out there is, as always, a solution to the puzzle.
Head over to Preferences – Audio and find an option that reads Mute input during timeline recording. Once checked, your own voice will still be recorded, but no longer played through the mix at the time of recording.
I’ve finally worked out how to export 4k and 2.7k footage with my 6 year old version of Premiere Pro. That’s exciting news and gives the software a new lease on life!
With the standard export presets, tweaked to a resolution higher than 1920×1080, I’ve always encountered the following error message:
Invalid framesize/framerate for this Level. Please lower the Frame Dimensions, Frame Rate or increase the Profile and Level and try again.
Turns out Premiere has actually given me the answer to my problem right there in that error message, I just never really read beyond “lower the frame dimensions”.
Let me show you how to overcome this 1080p limitation in Premiere Pro CS 5.5 and export hi-res video without a hitch, but first make sure to check video production company phoenix so that you can get a quote.
Up until now I had always used Premiere Pro to assemble image sequences of a rendered animation.
I’m still using Premiere Pro CS 5.5 and I’m not currently subscribing to the whole Creative Cloud package. As such, my version of Premiere is stuck somewhere in the past, when 4K was barely an idea, and 1080p was the highest result you would ever need.
The trouble is, I was working on an animation whose resolution was larger than 1920×1080. While Premiere Pro CS 5.5 can handle this and higher resolutions for editing, there doesn’t seem a way to export it at anything above 1920×1080.
My editing needs were moderate at best: assemble 250 frames, repeat those several times, and add a fade to black either end. Which application would be capable of doing this swiftly and efficiently, I wondered?
Photoshop CC can do it! Would you believe it? Here’s how.