Editing QuickTime in Premiere Pro CS4

What settings should I use to edit QuickTime? I've noticed that it can be imported into sequences that are preset to other formats but it always needs rendered.  Is it possible to edit in native QuickTime?  Here are the file properties:
Type: QuickTime Movie
File Size: 20.5 MB
Image Size: 1920 x 1080
Pixel Depth: 24
Frame Rate: 29.97
Source Audio Format: 48000 Hz - 16 bit - Stereo
Project Audio Format: 48000 Hz - 32 bit floating point - Stereo
Total Duration: 00:00:03:24
Average Data Rate: 5.4 MB / second
Pixel Aspect Ratio: 1.0

No... what is needed is the information on the size, and other characteristics, to determine your settings
For instance... my AVCHD project preset (in PPro CS5) is...
AVCHD 1080i30 (60i) square pixels, which is 16:9 interlaced 29.97fps 48khz audio
Once you have information "similar" to that, you should be able to choose a project setting so PPro knows what to do with your file

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    Bit rate                         : 9 558 Kbps
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    Height                           : 720 pixels
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    Tagged date                      : UTC 1970-01-01 00:00:00
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    Format                           : AAC
    Format/Info                      : Advanced Audio Codec
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    Format profile                   : LC
    Format settings, SBR             : No
    Codec ID                         : 40
    Duration                         : 7s 314ms
    Bit rate mode                    : Variable
    Bit rate                         : 66.15 Kbps
    Channel(s)                       : 2 channels
    Channel positions                : L R
    Sampling rate                    : 44.1 KHz
    Resolution                       : 16 bits
    Stream size                      : 60.1 KiB (1%)
    Language                         : English
    Encoded date                     : UTC 1970-01-01 00:00:00
    Tagged date                      : UTC 1970-01-01 00:00:00
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    ( I used this in another thread here where someone was trying to get timecode to run backwards...which is why you see that timecode thing...)
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    Microsoft® Windows® XP with Service Pack 2 (Service Pack 3 recommended) or Windows Vista® Home Premium, Business, Ultimate, or Enterprise with Service Pack 1 (certified for 32-bit Windows XP and 32-bit and 64-bit Windows Vista)
    2 GB of RAM
    10 GB of available hard-disk space for installation; additional free space required during installation (cannot install on flash-based storage devices)
    1280 x 900 display with OpenGL 2.0–compatible video card
    Dedicated 7200-RPM hard drive for DV and HDV editing; striped disk array storage (RAID 0) for HD; SCSI disk subsystem preferred
    For SD/HD workflows, an Adobe-certified card for capture and export to tape
    OHCI-compatible IEEE 1394 port for DV and HDV capture, export to tape, and transmit to DV device
    DVD-ROM drive (DVD+-R burner required for DVD creation)
    Blu-ray burner required for Blu-ray disc creation
    Microsoft Windows Driver Model– or ASIO-compatible sound card
    QuickTime 7.4.5 software required to use QuickTime features
    Broadband Internet connection required for online services†
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    Thanks,

  • Sync when compressing HD FLV and F4V in Premiere Pro CS4

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    Dave,
    Deleted all stuff...
    You might try this "TEST" at some point if you're using equipment to record sound as outlined in the following article....at any rate you might find the article interesting anyway for the future...
    ----------------------sorry I should give credit to who wrote it but you can google the first line and find it maybe -----------
    sync demuxed sound   The Problem -
    Miniature audio recorders, be they minidisc or solid state, offer a very attractive, cost effective, alternative to the traditional use of radio microphones, for the capture of remote audio sources in video recordings
    These machines record the audio in a variety of different formats - MP3, WMA, WAV, ATRAC -- and in a variety of qualities - but they all suffer from the same problem. It can be difficult to synchronise the remotely recorded audio, with the camera recorded audio.
    Although the time honoured tradition of an audio 'clapper board' works well enough to align the beginning of the two soundtracks, there is a tendency for the two tracks to appear to 'drift' out of sync over time - and the longer the recording, the worse the problem. In fact they do not actually 'drift', but the gradual loss of sync is a function of the camera and audio recorder sample clocks being slightly different frequencies.
    The simple reason for this loss of 'sync' therefore is that the audio is being recorded at different speeds. Although the recorder will specify the sampling frequency, the accuracy is then dependent on the internal crystal oscillator of the recorder - which is, of course, a different oscillator from the one controlling the camera timing. Although these crystals may typically be accurate to within 0.005% or better, even this degree of accuracy can cause the two recorded audio tracks to be out of sync by up to 300mS after 30 minutes. Even after 5 minutes, the 2 tracks can be some 60mS different in length, in a worst case scenario.
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    It is important to realise that although the sample oscillators may vary with regard to each other, they tend to be remarkably accurate over time, referenced to themselves.
    This means that if you know by how much the frequency your audio recorder sample 'clock' differs from the camera 'clock', then a single correction factor will bring both tracks back into sync.
    A simple procedure is outlined below, using free programs, to enable you to calculate the correction factor required for your particular recorder.
    Programs required (all free):
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    2) Audacity , a free audio editor
    3) Switch , a free audio file type converter
    Step 1: Set up your camera and audio recorder next to each other, and start both running
    Step 2: Make a good audio 'clapperboard' point by tapping a pencil firmly onto a hard surface, as close to both camera and recorder mics as possible. This will cause a fast 'edge' to become the reference point, which will be useful later.
    Step3: Let both devices run for at least 10 minutes. 20 minutes are better, but not essential.
    At the end of the period, (timing not critical), make a second similar 'clapperboard' reference point. Allow a few more seconds recording, and then stop both devices.
    Step 4: Download the video from the camera, and the audio from the recorder to your computer.
    Step 5: Open the video file in 'AoA audio Extractor', and extract the audio from the video. Convert this audio file (if necessary) to a 48KHz 16 bit LPCM (wav) file, using the 'Switch' program linked to above. This file will be your reference audio file.
    Step 6: Open the WAV file saved in the previous step in 'Audacity' - a free audio editor.
    It is now necessary to save only the part of the file between the two 'clapperboard' references, which hopefully stand out clearly (if you hit the pencil hard enough in steps 2 and 3!).
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    Click and drag the file to highlight the beginning section, including the first 'clapperboard' waveform. Use the 'fit selection to window' tool (immediately to the right of the 'zoom' tools) to magnify. Delete as much as possible before the 'clapper' reference. Repeat the operation until you can clearly identify the first distinct waveform of the 'clapper' reference waveform. Click, hold and place the cursor directly over the first full (clipped) waveform, where it crosses the centre line. Delete every thing to the left of that point, by clicking and dragging to highlight, and then deleting with the scissors tool.
    Step 7: Repeat the above procedure for the end part of the waveform, again using the start of the second 'clapper' waveform as your reference cutting point. In this case, cut everything to the right of your selected reference point (not the left, as in the first case.)
    Step 8: It is necessary to record the exact length of this new cropped waveform. This information is listed at the bottom of the window, but in a rather inappropriate format. Locate the toolbar at the top of the window, click 'Edit'-'select all' and then 'Effects'-'change tempo' . Note the length of the file in seconds in the right hand box (the left hand box is greyed out).
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    Step 9: It is necessary to convert the file recorded on the audio recorder into an identical format to the camera audio track, namely 48 KHz 16 bit PCM. If the track is not already in this format, open it in Switch, a free file transfer program, and select the output encoding as 48 KHz 16 bit, mono or stereo to fit your audio file. This program will then convert whatever format your input file is (MP3, WMA, 44.1 KHz PCM, etc) into the required 48 KHz, 16 bit format required.
    Step 10: Repeat the procedures in steps 6 and 7 for this new file. Edit the 'clapper' points with as much accuracy as before, but notice that the 'clapper' waveform will appear different from the first, although hopefully with as clearly defined first ' zero crossing' point.
    Step 11: Repeat the procedure in step 8, and you will notice that the overall file length is different.
    Overwrite the original file length into the right hand box, and take careful note of the resulting figure in the percent change box. Make sure you record whether it is a plus or minus value - it could be either! This is the most important figure, because it represents the percentage variation between the two units.
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