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Audio richtig aussteuern in Premiere Pro

Audio disqualify correctly in Premiere Pro



Frage von Ulib:
Juni 2010

I have just read several interesting articles on the correct record level in PPro, and would like to add the following point:

I cut my burn videos to DVD, that is, I must compress to MPEG2 in Encore before-and precisely because, I believe, lies the real problem:

I'd like my soundtrack to 0 db very normal, but I do have the experience that, then the compression in MPEG "clipping" incurred during the strike on DVD unpleasant later by the distortions in very noisy places.

I control therefore in principle more likely to max. From -6 dB; a Austeuerung to -3 db, I think even for a problem.

Simply said, I avoid the meter in the Audio Mixer the occurrence of "yellow" rashes.

It would be interested to know if other video made friends have similar experiences, and whether it might have a trick, with a higher audio control ("I'd love to soundtrack to 0 db normalize," my being able to burn) the DVD.

I am looking forward to the answers ...



Antwort von Alf_300:

Premiere CS3 is clear with me always - 9DB, no idea why. After TV just as loud (or softly) is so that I leave.
Otherwise, I've always used standardized on-1DB



Antwort von srone:

"Ulib" wrote:
I'd like my soundtrack to 0 db very normal, but I do have the experience that, then the compression in MPEG "clipping" incurred during the strike on DVD unpleasant later by the distortions in very noisy places.

what would interest me as to what audio compression used to you (pcm/ac3/mpg), my normalized to 0db These kind of symptoms do not show traces namely (both in pcm as synonymous with ac3), it is natural for me is the presumption that you are at your audio tracking control via Bezier curves, which generate unwanted one amplification, this helps you control only of the curve, the insert of several (normalized) audi traces must be avoided in the audio mixer each be heruntergepegelt spur To prevent saturation of the sum, as a rule of thumb, this pro used trace-3db , ie at 2-3db on each spur tracks at 3-6db at 4-9dB, etc., plus control of the sum.

lg

SRone








Antwort von Ulib:

"SRone" wrote:
"Ulib" wrote:
I'd like my soundtrack to 0 db very normal, but I do have the experience that, then the compression in MPEG "clipping" incurred during the strike on DVD unpleasant later by the distortions in very noisy places.

what would interest me as to what audio compression used to you (pcm/ac3/mpg), my normalized to 0db These kind of symptoms do not show traces namely (both in pcm as synonymous with ac3), it is natural for me is the presumption that you are at your audio tracking control via Bezier curves, which generate unwanted one amplification, this helps you control only of the curve, the insert of several (normalized) audi traces must be avoided in the audio mixer each be heruntergepegelt spur To prevent saturation of the sum, as a rule of thumb, this pro used trace-3db , ie at 2-3db on each spur tracks at 3-6db at 4-9dB, etc., plus control of the sum.

lg

SRone


I used the audio compression can not tell you how, I export from PPro via Dynamic Link in Encore, there is compressed, as I know, and as already written in MPEG2.

This includes but then the audio compression, right?

That I have the audio tracks separately dowry is clear;
and indeed already on the timeline with the Rubber Band, under the constant observation of the Aussteuerungsinstruments ("no yellow rash")
I may just come in master no higher than -6.



Antwort von srone:

"Ulib" wrote:
I used the audio compression can not tell you how, I export from PPro via Dynamic Link in Encore, there is compressed, as I know, and as already written in MPEG2.

This includes but then the audio compression, right?


looking times in the encore where you will find more help on this topic.
is the mpeg2 compression for video, for audio there are several possibilities.

lg

SRone



Antwort von Pianist:

"Alf_300" wrote:
Premiere CS3 is clear with me always - 9DB, no idea why.


Because that's right ... :-)

0 dBFS can approach special is necessary if you right at the end as an FLV file created for the Internet. Otherwise you should keep the entire production process s.0 dB on the RTW program meter, which would then -9 dBFS in the digital world.

You should also ensure that all audio processing devices very short integration times and not one to pass strong amplitude. That way you can control quite simple with Audacity, if you have no other options.

Matthias



Antwort von Ulib:

"Pianist" wrote:
"Alf_300" wrote:
Premiere CS3 is clear with me always - 9DB, no idea why.


Because that's right ... :-)

0 dBFS can approach special is necessary if you right at the end as an FLV file created for the Internet. Otherwise you should keep the entire production process s.0 dB on the RTW program meter, which would then -9 dBFS in the digital world.

You should also ensure that all audio processing devices very short integration times and not one to pass strong amplitude. That way you can control quite simple with Audacity, if you have no other options.

Matthias


Please tell me your initials:
What does db "FS"?
what does "RTW"
and as the pianist says the most:
with me "is" is always 9 db?

With me is nothing, I make one of me from -6, because, as I said is zero db distortion when you finally burn a DvD, the MPEG2 compressed.




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