How To Sync Multiple Timelines in Premiere Pro CS4?

In After Effects, if you create one Comp by dragging another one onto the "New Composition" icon, the timelines of those two comps will be synced (IE: If I jog to 00;00;16;06 in Comp01 and I switch over to Comp02, it will automatically jump to 00;00;16;06 as well).
How do I do this in Premiere Pro CS4? By default, it does not seem to sync up when I drag Sequence One into the timeline of Sequence Two. I have cuts done in the first Sequence that are important to elements I'll add in Sequence Two and I need to easily jump to those cuts.
Thanks!

Mmm, none of these are really emulating what I can get in AE. No matter what I do in Sequence One, it will not jump to the cuts I need in Sequence Two. However, I think the easiest way to do this is...
Create markers at the cut points of Sequence One
Open Sequence One in the Source Clip Window right next to the Monitor Window, which will have Sequence Two open
Jump to the first marker in the Source Clip window, copy the time code of that marker and paste it into the timecode of the Monitor Window
Cut at this point, wash, rinse, repeat...
Having said this...this is a pain in the ***. I really wish Premiere was set up more like AE as this would have been more helpful I feel in Premiere as you'll be doing more editing here than in AE.
Unless...I'm missing something? Just to give this one last shot (and to make sure I'm being as clear as possible). Is there a way to be navigating EXCLUSIVE in Sequence Two, via either keyboard shortcut or some type of button in a monitor window, to jump around to cut points that you made in Sequence One, WITHOUT having to jump back to that sequence?
Here is the scenario I'm looking for: Sequence One has a cut at 00:00:02:00. I jump to that point in Sequence One. I click over to Sequence Two (which has Sequence One nested) and I click or hotkey to the same point in the timeline that 00:00:02:00 that Sequence One is currently setting at.
The reason this is vitally important is that I'm going to remove the space between 00:00:02:00 and 00:00:03:00 and replace just that part with something else. Thus, these cut points are vitally important.
Any thoughts?

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Operating system detail
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You Gspot screenshot is good, and it shows that it doesn't recognize anything about the codec and codec name..the right side of the GSpot is usually full of information about the video file...like the frame size, FPS , aspect ratio, and so on. As you can see from the above paragraph you would probably benefit from converting the TOD file using FFmpeg or some other program like streamclip ( also free program )
That's your first step I think...
You will have to know what your video file is...from the camera manual you can find out the frame size and fps used, whether it is progressive or interlaced, etc... The reason you will need to know about your video file is because when you open the TOD file in a program like streamclip to convert it, you will want to convert it to basically the same specs, but with as a different "codec" and file type....but keep the same video characteristics as the original.

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Thanks guys, I'll take it from there.
Terry Lee Martin
Date: Wed, 2 Sep 2009 17:15:26 -0600
From: [email protected]
To: [email protected]
Subject: How do you get Premiere Pro CS4 frames into Photoshop
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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.
60mS difference will cause a distinctly audible 'echo' between the two audio tracks. (Even 20mS is detectable as a separate echo).
This difference is of course totally unacceptable, and corrections need to be applied. It is important to remember that even if your audio recorder crystal is absolutely accurate, and it is the camera clock that is slightly wrong, it is still the remote audio track that will have to be corrected. The 'wrong' camera audio track is the one in sync with the video, and has to be the 'master' track.
The Solution
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):
1) AoA audio Extractor --- (not necessary if you can extract the audio track from a video recording in your NLE)
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!).
This must be done accurately, to within 100th of a second, or better.
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).
Record this figure. It is the reference file length
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.
Once you have obtained this value, simply apply it to all files recorded with the same recorder and this camera. Providing you can align the start of the file with a single 'clapperboard' mark, there is no need to repeat the rest. Simply change the length of the external audio file by the correct percentage value, to allow the two audio tracks to remain synchronised.
It may seem a long winded process, but it only needs to be done once, and could then save quite a lot of time, against the option of trying to align tracks manually in your NLE, in small sections.
You may of course wish to use an alternative audio editor, and the details of this procedure may then be slightly different, but the principle remains the same.

Here is a Tutorial on How to sync Multiple Video and Audio Clips

Check out my Tutorial on How to sync Multiple Video and Audio Clips http://vimeo.com/28972315

Very true ! My main point was to show how easy it was to sync. I still think apple has a way to go to make this a great tool. It was fast to edit but when I want to send somthing to AE 5.5 it was a nightmare. I do I love how it organizes keywords and the color correction tools are good if you want to do it your self (check out this site http://www.colorgradingcentral.com/final-cut-pro-x-color-grading-table-of-conten ts ) it will be a great program if apple listens to all the comments but does not make it too complicated the you cant create quickly.

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The workflow that Jim spelled out is for doing what's called a "multi-cam edit." This allows you to conveniently switch among different video clips, often from multiple cameras that shot the same performance or event. The end result is a segment where only one clip is visible at a time.
The way I read your question, what you want to do is show six clips all at once, which is typically referred to "picture in picture." To do that, follow the first 3 steps Jim provided. (By the way, in Step 2, the key is to stack the clips on six different tracks, as opposed to lining them up head-to-tail.) Then select each clip in turn and use the Position and Scale controls in the Effect Controls Panel to shrink it and move it where you want within the frame. Here's a tutorial video on this workflow: http://tv.adobe.com/watch/adobe-beginner-classes-with-dennis-radeke/episode-7-adobe-premie re-pro-picture-in-picture/.

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Ninety-nine point nine percent correct. We are blessed with a few Adobe employees here, unlike some fora, but those folk are probably at NAB right now. Also, they are in other departments, so would have to walk "down the hall," or make a call, just as we would.
When it gets to issues on licensing, installation, etc., we're pretty much at a loss. Most of us have never encountered such issues, and only know what we have read in others' threads, when they have bothered to report back. Even then, that is third-hand info.
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Thank you for the respond.
Yes, I tried already that way but it didn't work. The deck plays. I saw also in the monitor I connected to the deck has display. But it's not in Premiere Pro 2.0. I only saw the timecode running but it has no display. And I tried to save what I'm capturing but it says no frame captured if I not mistaken.
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