(canon 5D 3 Magic Lantern .raw) fps issue in premiere pro. Pls help

I took a shot with Canon 5D 3 Magic Lantern(.raw converted to cdng) at 23.97 fps which is reflecting as 24 fps in the premiere metadata? How to change it to 23.97 fps without affecting the quality of my clip?

Thank you Simon, I did try it more than twice, same problem appears, the same converter setting worked well with other similar clips. Still looking for an answer from someone who have experienced similar issues and have a resolution. Thanks in advance

Similar Messages

Workflow for Post Processing Magic Lantern RAW Video?

Dear Adobe Community,
I am interested in learning what steps/workflow fellow DSLR, Magic Lantern users take to Edit, Color Grade and add FX to their RAW video? Here is my untested thought process so far:
Adjust the Exposure, White Balance, Lens Distortion, Etc of DNGs in Adobe Camera Raw.
Import DNG image sequence into Premiere Pro for Editing
Use Dynamic Link to Color Grade in Speed Grade
Use Dynamic Link to add effects in After Effects
Render out in Premiere Pro
One of the concerns I have is that I've read on the Magic Lantern Forums that Premiere Pro will reduce 14 Bit DNG to 8 Bit. Is this something you've encountered? Is there a workaround?
I am fairly new to all of this and would greatly appreciate any feedback to point me in the right direction for Post Processing Magic Lantern Raw Video files. I have a subscription to Lynda.com as well if you have any suggestions for courses to look at.
Thank-you for your time.

Nothing Adobe makes can read MLV or RAW video files, so you have to use something else to convert them into CinemaDNG (a folder of images) or a high bit depth movie file (ProRes etc.) - there are many tools listed in the ML forum which can do that.
Premiere Pro can import cDNG footage but it struggles to play back in real time, and will not allow you to grade it using Camera Raw. To do that you have to use After Effects. The workflow is supposed to be "ingest in Prelude, edit in Premiere Pro, color in SpeedGrade", but quite frankly the learning curve for SG is massive. Adobe's attitude to CinemaDNG is strange; although the standard is open, support is only coded for very specific models of camera and the CC suite assumes a Hollywood workflow where professional colorists (who spend years learning how to use the software) operate offline from the rest of the edit, usually after all the cuts are made. It's not set up for a typical lone DSLR filmmaker, which is quite frankly why a lot of ML users prefer another well-known way to resolve the problem.
The 'fast and dirty' approach to getting a cinematic grade in Premiere would be to apply LUT files to the footage using the Lumetri effect (basically running SpeedGrade presets), or you can hand-grade it using the inbuilt Color Corrector tools - but that doesn't cover the other important stuff that ACR can do, such as lens correction, alignment, noise reduction, camera calibration profiles, etc. - for that, you should import the cDNG footage into After Effects (which does support ACR), correct and calibrate the frames, then export back to something high quality that Premiere can work with (such as DNxHD or ProRes 444). You won't notice any visual loss in quality, and Premiere then will play the timeline without struggling, but it takes a loooong time to chew through every clip.
As to if Adobe applications will ever support MLV files natively - well, since Adobe relies on close partnerships with camera manufacturers including Canon, you can guess what would happen if Adobe ever endorsed it. The only scenario I can imagine is if MLV is adopted in-camera by a major DC manufacturer (Alexa, etc) so vendors can support it without slapping Canon in the face. Flying pigs come to mind.

Major Issues with Premiere Pro CC

I am currently having some major issues with Premiere Pro CC running on my macbook pro(specs below).
I am trying to export a 4 minute video using the vimeo 1080p export settings as I usually do, and it takes about 10 hours to export the video. On cs6, a similar project would take 5-10 minutes.
Also, the video that was exported contained a lot of clips that came out choppy and low quality.
I am currently on the phone with tech support, and they cannot seem to figure out what is wrong.
I have seen a few post about CC having issues with amd cards, but nothing has been confirmed yet.
Any help would be greatly appreciated since this job is past due due to these issues.
2011 MacBook Pro
i7 2.2
16GB Ram
256 SSD + 750GB HD
AMD Radeon HD 6750M 1GB

You neglected to specify exactly which release of PPro CC you are running. There have been 5 of them.
If you're on CC7.2 or 7.2.1, then you may be hitting the same problem discussed in one of these threads:
RGB Curves: http://forums.adobe.com/message/5929088?tstart=0#5929088
http://forums.adobe.com/message/5934916?tstart=30#5934916
http://forums.adobe.com/message/5935386?tstart=0#5935386
The first thing to try is switching Renderer to Software Only.

Graphics Card issues with Premiere Pro CS4

Hey there,
I've placed the screenshot of my problem at the bottom of this post.
I'm having lots of issues with premiere pro CS4 and editing videos since I upgraded to Windows 7. I have some .mpg and .MP4 videos. Both of which play fine in WMP, VLC, WinAmp, VirtualDJ etc. But when I load them into PPRO CS4, as you can see in the screenshot they go green and pink. And they don't move. I.e you see one still image and hear only audio.
Now a fix I have found for this is to uninstall my graphics card. But this is no way an option to edit videos, as the resoultion goes from 1920 x 1080 to 1024 x 768.
I should add that I am runnig the following system:
Dell Vostro 1000 Latpop
Windows 7 Ultimate 32Bit
2.00Ghz AMD Sempron Processor
2GB RAM
ATI Radeon XPress 1150 Graphics card
I have the latest graphics card drivers installed. I am just wondering what the problem is, and a potential fix. Would be great to hear any advice,
Regards,
Adam.

OK, here are some other things to think about:
ATI/AMD Catalyst seems to have an issue with one of the latest versions, maybe rollback to an earlier version.
Depending on your OS, check Hardware Acceleration (though this usually affect smoothness of playback) in Control Panel>System>Hardware>Advanced.
Check your OpenGL settings.
In Catalyst, turn OFF any GPU Acceleration
That's about all that I can think of for now, and those are shots in the dark.
Good luck,
Hunt

Syncing footage with music track issue in Premiere Pro CC

My experience with Premiere Pro is still limited to basic editing. Recently I've been asked to help out a friend to edit a music video. I've done this before in Final Cot Pro X but decided to switch due to the integration of Adobe CC.
The issue I am facing is that all footage that has been shot is delivered to me at 23.976 fps but with the audio playing faster. The audio track after importing is being played back at 29.97 fps and plays at normal speed.
The solution I have found so far is to slow down each clip to 80% so it matches the original audio track. This is not ideal I found out while editing, so it would be better to have each clip rendered to its original state of 29.97 fps.
After some more research I discovered that it is possible to re-render each clip to its original speed in After Effects, and even apply frame blending. Then import all back in Premiere Pro.
My question is if the road I am following here is the correct one.
Thank you!

by reducing the speed in the timeline, i think it does the same thing as forcing interpret footage. the difference is by changing it in the bin before starting, you can change all clips at once. just make sure to set the sequence fps to the final output fps, not matching the changed fps of clips. you can also right click the footage on the timeline and choose frame blend, but i think it ends up doing the same thing as the export option you are using. the difference on the timeline is you can see the frame blend while editing. AE is extremely slow and might not look any better, so where u are on deadline, forget about it. so in premiere i think frame blend on vs off is your only real option to change the behavior of the slow-mo.
the slow mo trick is nice for music videos, but yeah, for best results the camera needs to be sped up with the song on set. then in post both are slowed back down, replacing the song/audio with the original song at normal speed. 23.976 or 29.97 are both acceptable in NTSC usa land. 23.976 has gotten alot of attention as the "film look" since it has more motion blur, while 29.97 has a cleaner video look. below are some numbers i found somewhere and kept. so if the final render fps is known, can choose the correct shooting fps for on set with matching sped up or slowed down music. the italic values would be used to end up with sped up footage, while the Bold values would be used for slo-motion effect. i haven't used these but the numbers look right. he could have shot at 29.97(30) fps and slowed it down to 23.976 in post to get the 80% slow-mo.
For an NTSC/US, using a 24p timebase, for the following frame rates, adjust the song speed to:
12 fps: make song last 1.956x longer by stretching it to 51.1% speed
18 fps: make song last 1.333x longer by stretching it to 75.0% speed
20 fps: make song last 1.226x longer by stretching it to 81.6% speed
22 fps: make song last 1.067x longer by stretching it to 93.7% speed
26 fps: make song last 0.907x as long as normal; play it at 110.25% speed
30 fps: make song last 0.800x as long as normal; play it at 125% speed
32 fps: make song last 0.747x as long as normal; play it at 133.87% speed
36 fps: make song last 0.672x as long as normal; play it at 148.81% speed
48 fps: make song last 0.498x as long as normal; play it at 200.80% speed
60 fps: make song last 0.400x as long as normal; play it at 250.00% speed
For an NTSC/US, using a 30p timebase, for the following frame rates, adjust the song speed to:
12 fps: make song last 2.445x longer by stretching it to 40.91% speed
18 fps: make song last 1.667x longer by stretching it to 60.00% speed
20 fps: make song last 1.533x longer by stretching it to 65.23% speed
22 fps: make song last 1.333x longer by stretching it to 75.01% speed
24 fps: make song last 1.250x as long as normal; play it at 80.00% speed
26 fps: make song last 1.134x as long as normal; play it at 88.22% speed
32 fps: make song last 0.933x as long as normal; play it at 107.14% speed
36 fps: make song last 0.840x as long as normal; play it at 119.05% speed
48 fps: make song last 0.622x as long as normal; play it at 160.73% speed
60 fps: make song last 0.500x as long as normal; play it at 200.00% speed

Camera Raw like interface for Premiere Pro CC

Hi Adobe
I'm a photographer and video producer looking for an easier way to grade and adjust the levels of my footage in Premiere.
The DynamicLink with SpeedGrade is really lovely and quick, but getting my head around the new SG interface and being able to squeeze the best results out of it is a real challenge. Recently I discovered that I can open video files in Photoshop CC and use the Adobe Camera Raw interface as an effect on the footage and apply colour and levels changes there. This has really opened up the grading process for me and coming from a stills background with several years of using Lightroom to process my photos, I find the Camera Raw interface much more intuitive. It has allowed me to get better results much faster than I was getting out of SpeedGrade. The only issue is the workflow and render time involved in getting the video from Premiere to Photoshop and then back again is drawn out and complex.
My questions are:
Is there a current effect or plugin that replicates the Camera Raw interface and feature set in Premiere Pro / SpeedGrade?
Is this a feature Adobe is looking to include in future updates of Premiere?
It maybe laziness on my behalf not taking the time to learn the interface of SpeedGrade, but I know Adobe is a responsive developer and that this feature would speed up the grading process and would really appeal to the DSLR community who use your products for both photos and videos production.
Thanks in advance
Dan
Dan Murphy
Video Production & Photography
+61 0449 53 9797
www.mandurphy.net

As to quick corrections, a bit of experience in Sg and wow ... what you can do quickly. At first, SpeedGrade ticked me off, couldn't do squat in it. After a bit of learning about how to use scopes & what the goal is in video (very different than stills) ... and learning some of the interface bits ... and getting a Kensington Expert Mouse Trackball (which is a great trackball with a spinner ring and no mouse at all) so it works with the color wheels real spiffy ...and the ease of saving "looks" for my camera's main use stuff ... speed of quick corrections is stunning. "Normalize" ... a couple clicks if that's all you want to do. Keyboard shorts too. All for me, way faster than the 3-Way or Fast.
As to the ACR interface, I went down to NAB in Vegas this spring, got to talk with some of the folks "behind" Sg. And also such things as coming from a stills background, being familiar with the Lightroom and ACR style of panels, wondering if that was possible. Got a pretty good answer ... short answer, "possible" ... well, yes, ... probably.
But ... very, very difficult to do, because of a concatenation of things.
First ... the photo apps (Lr, P-shop, Bridge) are developed by a completely different group of people, EVERYTHING from the "look" or style thinkers to the coders. There is virtually no "code" similarity between the products for stills and the products for video. Think about the differences here ... Photoshop and Lightroom are designed to work on one image at a time, realistically, and allow "batching" instructions to a few others. And they can at times pretty much take over most computer's resources. The video apps are designed to work on (process) THOUSANDS of images at a time, as that's what a clip is, let alone a full sequence of clips. The coding "ideology" for the two is completely different. Even though P-shop has some video handling capability, NONE of the code is anywhere near alike. You can't say "we've got that code here, let's put it in over there ... ".
It would be like thinking you just wanted good power in a little European sportster so you decided to put a big American-built Cummings diesel motor in it. Um ... with enough work & hassle, it actually might be possible. The wisdom of the effort, let alone the happiness you might achieve with the result ... well, it might be worth thinking about before starting. Or at least realizing it's gonna be a ton of work to do.
Second ... resources while running. In stills, if one is technically sharp, one looks at a histogram while "developing" in Lr terminology. That histogram takes next to no resources whatever, works perfectly well. In video, if your aren't looking at least at a good Vectorscope if not also Parade while working, well ... the success of your endeavors let alone the time to create them is going to be ... perhaps ... poor. Probably. Yet those scopes can take quite a bit of resources all by their lonesome. Which is why they have the option to "pause" the scopes while playback is going on, as to keep them going in real-time is a right b-tard. Resource-wise.
Think of what's going in in the video apps: they take your source footage, but only the bits you've selected (but out FROM the whole clip constantly), all the changes & effects you've made, compute instantly for every flipping image at between 24 to 120 per second what it "should" look like, and display that in your playback monitor. This is a load the stills apps don't even think about. And yet, they've got to make these things "look" like there's no difference in getting things to your monitor than the stills programs. It is literally like comparing 18-wheel freight trucks to Maseratis. And expecting the Maserati to carry the load the freight truck does. Hey, the little Maserati may actually have more horsepower,. you know. Why can't it pull that semi-trailer? P-shop has some video capability, why can't you just cut & paste something else from P-shop into Sg?
So ... the long answer is adding some option like the LR/ACR style interface is an intriguing idea even for the Sg "team". However, it would pretty much mean they'd need to rebuild a ton of the program. Now, most of the things you can do within that interface Sg already does, albeit with vastly different code and "tools". When I asked about perhaps just allowing a Secondaries panel with the HSL look out of Lr, one of the main dudes just sort of ... blanched. I would guess from other comments that that little bit has been discussed or something along that line, and ... it would be a "Significant" people-using project to accomplish. From a coding standpoint, some parts of Sg would simply have to be rebuilt. With the appropriate de-bugging needed to get it operational AGAIN on so many different types of hardware/codecs/drivers/OS & etc.
There's times that HSL panel would allow me to easily do precisely what I want ... I would love to have it. I've put in numerous Wish Requests for it. And of course, done so in person. I'm not expecting to see it any time soon, mind you ... but again, put in wish requests for the ACR panel in Sg. Can't hurt.
Neil

MXF issues with Premiere Pro CS6

Hello,
I am having trouble using Canon XF300 MXF files in Premiere Pro CS6 v6.0.2. I am using the media browser (tried icon and list view) to import footage (first importing to internal HD via the Canon XF Utility). I can import and play audio and video for all files under 2.05 GB but PPro limits any file longer than 30 seconds to 30 seconds.
Alos, Canon cameras cut files over 2.05 GB into separate MXFs. Most of my footage are interviews over 10 minutes long so I have 3 or 4 separate MXF spanned files for each clip. Premiere is having most trouble handling these files. First of all it limits them to 30 seconds each. Then, when I import them and drag them into a sequence it will only play audio from the first spanned file, even if video from the second sapnned file is playing.
I have tried merging all spanned files using Canon XF Utility's 'Export to MXF' function. As a result I have one 10 minute long MXF file but when I import it to PPro it still limits it to 30 seconds.
I made the change to PPro because of the ability to edit various formats in a single senqunce without tanscoding. I recently purchased a Sony FS700 and FCP7 couldn't really handle the MTS (or clipwrapped movs). Premiere handles them perfectly but can't handle the MXFs. So currently I am finding myself going into FCP7, logging and transfering the MXFs and transcoding them to .movs using the Canon XF plugin for FCP7 and then importing those to Premiere (they work fine this way)...but of course its a hassle to do with hundreds of clips per shoot.
I also noted that VLC 2.0.x versions can't handle the MXFs so well (video plays fine, audio at double the speed) but VLC version 1.0.3 handles them ok as long as I dont forward the video.
Any help is greatly appreciated.
Computer specs: Mac Pro 2.66GHz 12 core, 16 GB RAM running latest Snow Leopard update.
Clips shot at: 29.97 fps, 50 Mpbs, HD 1920x1080.

(first importing to internal HD via the Canon XF Utility)
Try skipping any special software and just use Windows Explorer (or Finder).

H.264 encoding issues with Premiere Pro CC 2014

After updating to Premiere Pro CC 2014 yesterday, I see encoding artifacts on my H.264 exports.
Same source video imported into CC v2014 and v7, and exported using the YouTube 1080p 29.97 fps settings. The artifacts manifests itself as softness/blurriness in parts of the image every few seconds, especially notice the area with a red circle below.
Here are the source file (GoPro HERO3 Black Edition), the v2014 render and the v7 render.
Original: https://drive.google.com/file/d/0B2rJe0xgMTxFYXJiMjZpZ0stUzQ/edit?usp=sharing
CC v2014 render: https://drive.google.com/file/d/0B2rJe0xgMTxFQ1B0Z09GS3I0a1E/edit?usp=sharing
CC v7 render: Premiere Pro CC.mp4 - Google Drive
[Version numbers corrected.]
Message was edited by: Jim Simon

Mark Mapes wrote:
This is a known issue introduced in CC2014.0. Some h.264 encodes have blurriness or noise periodically in some areas of the frame. The problem is most pronounced in regions of the frame with very little detail, like grass or pavement--or the T-shirt in the sample frame. We are working on a fix. Before you ask when the patch will be forthcoming, I'm not authorized to even hint at the timeframe.
Unfortunately, the only real workaround is to export to a format other than h.264. If that's not an option for you, then your best bet is probably to keep working in CC7.2.2 until the patch is released.
Sorry, but thats not completely true and by far not the correct answer:
The problems with random artifacts occurred with the introduction of a new version of H264 in CS6 but there you still had the option to export with the previous H264 Version via Media Encoder.
Since the previous H264 version is not available in CC, using CC7.2.2 is not a solution either.
BTW
Updating to CC and using the new Mac Pros with Mavericks is currently a total mess - no open cl rendering, random crashes, no usable h264 ... thanks adobe!!
... but we can track masks in premiere now ... wow!

Display Issues in Premiere Pro CS4

I'm having some weird display glitches in Adobe Premiere Pro CS4 in the timeline area. I attached a picture that shows what it looks like. This happens whenever I drag clips on the timeline and it makes it so it takes a lot longer to edit my videos.
I'm really hoping that Apple or Adobe fixes this issue. I really can't afford to upgrade my creative suite to CS 5.5! And I would prefer to stick with OS X Lion.
Well it looks like I can't upload an image. Any ideas?

Keep in mind that the following sustained transfer rates - as a rough rule of thumb - apply:
SATA & eSATA: 80 - 100 MBps
Firewire 800:       50 - 60 MBps
Firewire 400:       30 - 35 MBps
USB2:                20 - 25 MBps (depending on other USB devices connected it could be even lower.)
I agree that your storage capacity with 1 TB is enough, but the interface is too slow. If you do not have an eSATA port on you Vaio, you can get a Xpress card to eSATA connector with two eSATA ports to cover that. Also keep in mind that the C drive may be a 4200 or 5400 RPM disk and not 7200.
Mininmum requirements state: a DEDICATED 7200 RPM disk and while your USB disk is 7200, it lacks in the sustained transfer rate when compared to SATA or eSATA. BTW I think Adobe should explicitly mention SATA or better.
Above I mentioned for USB depending on other USB devices attached. USB shares the bandwidth among all devices connected. If you have a USB stick connected, a USB receiver for wireless keyboard or mouse, a USB printer, they all have to share the bandwidth and further reduce the sustained transfer rates of the USB disk.
Hope this explains it a bit.

5.1 Audio issue in Premiere Pro CC

Hello All,
So I have the latest Premiere Pro CC with the most current updates and a Sony HD camera that records videos with 5.1 Dolby Digital sound. When I create a project and import the files using Media Browser, I get the error message: "Dolby Audio Decode Licensing Restriction for <file path>", I'm on a Windows 7 64-bit machine, the files are on M2TS format, I imported them from the camera to the computer using PlayMemories Home, the software also copies a M2TSMODD file to the same location. I've seen a lot of people complaining about this issue with CS6 but not CC, I've reinstalled the software twice now, is there anything I can do other than trying to extract the audio with another software and import the audio file? This is really a bummer.

I had this problem this evening 090813 after upgrading my Adobe Cloud Desktop.
I open Pro CC and had the Dolby Audio Decode Licensing Restriction for (File name.......... ) Error
Previous CC progs loaded and worked with problem.
I uninstalled Pro CC - Restarted the computer - Re-installed Pro CC.
Now working with no problem.
Hope this helps.
John

Video Playback Issue in Premiere Pro CS6

I am editing a video with 2 video tracks on top of each other. When I scrub through the timeline or jusy hit play in the timeline the top layer of video scales to about 50% and plays on top of the layer below it. But it didn't do that 2 days ago. Any ideas on what could cause that? I have attached a screen capture of what it looks like while playing back. Any info would be greatly appreciated.
::Premiere Pro CS6 (v 6.0.5) and a Macbook Pro running OSX 10.9 on a SSD, and 8GB RAM::

They are both 1280x720 but they were shot on 2 different cameras. The thing that is killing me is that I have done this exact same camera setup and editing before without this issue. And it only scales the top layer video down while scrubbing or playing back (spacebar). When the playhead is still it pops back to normal.

XDCAM audio issues in Premiere Pro CC

We run 4 New Mac Pro Towers at my shop with Adobe Creative Cloud, and we're editing on Premiere Pro CC. We were a Final Cut 7 shop until we were forced to choose between PP or FCX. I've recently been experiencing audio issues when ingesting XDCAM footage from my Sony EX3 Camera. While the video looks great when ingested into either XDCAM Browser, or when I drop the BPAV file into our external drive and bring it into PPCC, the audio becomes noisy and unusable.; while this same audio sounds excellent on all my other machines. I've uninstalled both the XDCAM Browser and Premiere software and reinstalled them, but have not had any luck so far. Meantime, none of my other machines are experiencing this issue. Any assistance would be much appreciated.
Thanks.

One way, assuming you are working in mono, pan A1 center and A2 right, this will give ambience to left and ambience and narration to right. If you are mixing and you don't want the ambience only track to change in level you will need to use subgroups but this will get more involved.

Any issues with Premiere Pro CC and Avid Media Composer on same system?

Hi all:
Searched around for this but couldn't find similar question.
Am a long time Premiere Pro user, but have something coming up where I'm having to use Avid MC to collaborate with a staff editor for the duration of the job. Am wondering if I should expect any conflicts or issues to installing both Premiere Pro CC and Media Composer on the same system? Any insight would be most welcome.
Running Adobe CC on a Windows 7 HP Z820, Dual Xeon Processors, 128Gb RAM.
Thanks!

hi Jim,
well it turns out that Premiere update 7.2.2. put my computer into disarray, and caused my multi-camera monitor to lag (about 6 seconds) behind my program monitor .. so my my multi-cam monitor (with my 2 or 3 camera feeds) would be playing footage that is 6 seconds or so BEHIND what was playing on the program monitor.
that's the gist of it..
anyway the fine folks at Adobe, talked me through the process of going back to premiere 7.2.0 and that fixed the issue.
i hope future updates resolve this issue so that i can get back up to the minute on my software
thanks
jahZ

QTFC Issues with Premiere Pro CS4?

Hello there.
So recently, I have been having issues with my adobe programs. I have the Master Collection CS4 and when I launch programs like After Effects, it tells me the following.
"QuickTime functions will be disabled because a compatible version of QuickTime could not be found"
and here's my real issue. When I go to launch Premiere Pro CS4, I get the following error.
"Adobe Premiere Pro.exe - Entry Point Not Found
The procedure entry point QTCF_CFUniCharGetUnicodePropertyDataForPlane could not be located in the dynamic library link QTCF.dll"
I click OK and it pops up again, then premiere launches. How do I get rid of this error? I have tried reinstalling Master Collection and Quicktime but that didn't help.
I cannot afford to reformat computer as I'm very busy and need my programs to work.
Thankyou for your time and support.
-Matthew.

To answer your question. I had the same problem that you had. I was using Quicktime 7. So I downgraded by downloading Quicktime 6.4
Here's a link:
http://docs.info.apple.com/article.html?artnum=120297
So I installed QT 6.4, and the error message is no longer there. But there is another issue, I try to import or find a file that is a .mov and it says File format not supported. Which is weird because you get that if you don't have quicktime installed. That may be an entirely different problem. But hope this at least helps you answer your question.
UDP&R Staff
http://udpr.bluangelnet.com

Audio sync drift issues within Premiere Pro CS6, even with 48kHz project & source material?

Evening guys and Merry Christmas to those who follow the tradition. I'm currently doing a few last minute tweaks to a live dance show that I recently shot. The show featured music that was recorded in camera (via additional mic) from the speaker setup within the theatre. This was always intended as a guide track as the original music would then be synced in the edit to give a cleaner sound to the audio during the dance sequences. I have the original CD that the music was played from on the night, however when the files are imported into Premiere Pro (or even Audition), they sync for the first 10 seconds or so and then gradually drift out of sync as the track goes on.
My project is set to 48.000 audio, which was what the original footage was shot at, as well as the audio tracks being imported as 48.000 too. Now on paper there should not be any issues with this sync drift occuring right? I've even tried with 44.100 audio files and naturally they drift out of sync.
At a loss here really as I'm not sure where i'm going wrong. Can anyone shed any light on this situation please?
Thanks!

What are you editing, and does your project match your video?
Read Bill Hunt on a file type as WRAPPER http://forums.adobe.com/thread/440037
What is a CODEC... a Primer http://forums.adobe.com/thread/546811
What CODEC is INSIDE that file? http://forums.adobe.com/thread/440037
Report back with the codec details of your file, use the programs below... a screen shot works well to SHOW people what you are doing
http://forums.adobe.com/thread/592070?tstart=30
For PC http://mediainfo.sourceforge.net/en or http://www.headbands.com/gspot/
For Mac http://mediainspector.massanti.com/
Please NOTE that the PPro CS6 screen may look a bit different (I use CS5)
For CS5 and later, the easy way to insure that your video and your project match
See 2nd post for picture of NEW ITEM process http://forums.adobe.com/thread/872666
-and a FAQ on sequence setting http://forums.adobe.com/message/3804341

(canon 5D 3 Magic Lantern .raw) fps issue in premiere pro. Pls help

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