How to Sync Video at 48 kHz with Audio at 44.1 kHz with Adobe Premiere Pro

Problem: My video is 48000 Hz and I have a separate audio track at 44100 Hz that slowly moves out of sync with the video.

I’m working on editing a video of our Instructor Conference for ProTrainings.  The video is very long, and the audio and video are different speeds and yet run the same length. I’ve spent that last couple of days trying to figure out this problem, and I finally came across an explanation that worked for me.  So, now I’m going to share that solution with you.  We’ll start with the post that helped me to find the solution.  It was posted by someone called mpiper on the forums:

I am not sure what caused the problem, but here is a solution I have used for similar issues in the past. as long and the change is minor, no one will notice.

First, find a FRAME-ACCURATE marker on the video track at the start. Perhaps the start of the first word from the lead singer.

Then, find a second Frame-Accurate marker at the end of the video track.

Write down the EXACT time difference between the start and stop markers in minutes, seconds and frames.

Now, Find the exact same start and stop markers on the audio track.

Write down the exact time for it as well, also in minutes, seconds and frames.

Now, divide the time of video by the time of audio to see the difference. For a simple example: 5.25 minutes for video and 5.0 minutes for audio gives a difference of 1.05 or 5% longer video. (I normally convert everything into total frames and use 9440 / 8991 = 1.0499 for 5% change!)

With this difference, change the speed of the audio (or video) by that percentage so they are exactly the same length. Now you have a match!

With Premiere Pro, you can stretch and shrink time on audio and there is a checkmark to maintain pitch, so everything sounds perfect.

Solution: Now I’ll explain exactly how to do this with Adobe Premiere Pro.

The first thing that I did was I took the 44.1 kHz mp3 files into Adobe Audition and resampled them to 48000 kHz wav files.  I’m not sure how necessary this step turned out to be, because it didn’t alter the speed of the vocals in the video at all, but when I accomplished the sync, it was with the files I had made with this.

I made sure to line up the audio file with the audio that is in the video.  That’s given, but I figured it was worth mentioning for the sake of completion.

Quick Tip: When you are filming, if you can do so, I recommend using a clap board to mark the start of a shot, and if you regularly run into this issue, also do the same at the end of the shot before you stop all of the recording devices.  This can be very helpful in lining up the audio when using multiple cameras and recording audio separately.

Now, what we’re going to do is pretty simple.

First, start with the timecode, hold Control and click it until it becomes a solid number.  This is the frame number.

Next, we’re going to make sure that the frame number lines up on any and all audio tracks that you’re trying to line up, toward the beginning of the track, and put a marker there.  Make sure to write down the number of the frame that you have set the marker at.  In my case that is frame 16181.

After that, we’re going to head down to the end of the audio and video that you’ve lined up on the timeline.  Find a keyword or the clapboard marker on the timeline, toward the end of the files and mark each with a marker in the same way as before.  Take down each frame number.  In my case, these numbers were 66139 for the video’s audio timecode and 66163 for the separate audio file.

Next it’s time to do some simple math.

We’re going to subtract the first frame number from each of the second frame numbers.

66139 – 16181 = 49958

66163 – 16181 = 49982

That’s not a very big difference.  In fact, in my case it’s only 24 frames different, but that makes up nearly a second of audio.

We’re doing to divide the frames to get a percentage.

49982 / 49958 = 1.000480403538973

Important: Move the decimal two spaces to get the percentage: 100.0480403538973%

That means we have to change the speed of the separate audio file by 100.0480403538973%.  This will then appear as 100.05% if you look at it again.

Now the audio should be lined up between the video and the separate audio file.  On mine, after it all lined up, for whatever reason, I had to grab the end of it and stretch it all the way to the end, but everything stayed put and was perfectly aligned.

Now, play back your audio with all of the tracks turned on and marvel at the synchronized sound.  Turn off the audio tracks connected to the video, and leave the clean separate audio file, and you’re good to keep editing at will.

Let me know if you have any questions.  I hope this helps you as much as it’ll help me in the future when I run into this again.

Thanks to all of the people that attempted to give me a hand with this.

Update: Recently, we filmed a new program which included about 30 or so videos on Pet First Aid. We shot the entire program at 48000 Hz for the video, and 44100 Hz for the audio. We’re talking hundreds of takes, and using the above technique would have added a ton of time to the project. While the above technique is free, the opportunity cost far outweighed the cost of software that could do the same thing.

To correct it all, quickly, I used PluralEyes. At first, I tried the entire project, but it doesn’t work so well to do that. PluralEyes works best with a lower number of files. I wound up sorting this particular program by section of videos (we hadn’t yet sorted down to individual topics). On other projects, I sort down to individual videos and then run them through PluralEyes.

What it does is take all of the video from as many cameras as you used, plus the audio, and lines it up for you. You can then export to Premiere Pro (as well as other video editing software). It also creates new audio files that are labeled “drift corrected.” That’s right. PluralEyes changed the 44100 Hz audio to match the 48000 Hz video… in seconds… automagically!

After that, I import the file exported from PluralEyes, and use the timeline from that export as my video/audio source, that I copy from. Get PluralEyes and be amazed!

CS4 Announcement, Thank You Adobe, Please Help

Adobe has announced the CS4 line of products, and again I feel somewhat slighted.  You see, I am the Chief Creative Officer at my company, and I do it all.  From web design to video editing, my hands are in everything.  I use, regularly, Photoshop, Dreamweaver, Premiere, After Effects, OnLocation, Encore and Illustrator.  I’d also like to get my hands on Fireworks.

That’s where the problems begin.

They offer four CS4 bundles, and none of them suit my specific needs/wants.  All of them offer great products, and one offers everything and more (far more than I would ever use), and that’s CS4 Master Collection.

I currently own Adobe CS3 Production Premium, and Adobe Dreamweaver CS3.

So, I’m at a loss when it comes to upgrading.  I was thinking of upgrading Dreamweaver, buying Fireworks, and upgrading to Production Premium CS4.

But when doing a comparison of Adobe Creative Suite 4 editions, you notice something funny at the bottom of the list:  Adobe Version Cue® CS4 is a part of every collection except for CS4 Production Premium.  Why not, Adobe?  It could be fun to give it a shot, and it’s included with every other bundle.  Not to mention the fact that there is no price tag associated with it.  Granted, I would be getting Adobe Dynamic Link with Production Premium, and that’s a really great thing.  But still, what’s up with leaving that one program out of only one bundle?

Another thing that happened, as I was adding things to my cart on Adobe’s website, to see if upgrading to Master Collection was worth doing.  I added the upgrade of Dreamweaver, and then when I went to add Fireworks, it wouldn’t even let me select that I didn’t want an upgrade.  I don’t currently have any previous version of Fireworks, so getting the upgrade wouldn’t work, as the Fireworks upgrade details require me to have Adobe Fireworks CS3, Macromedia® Fireworks 8, or MX 2004, of which I have none.

But there is some good in all of this.

There’s a site that is pretty new (only a few weeks old), which gained the attention of Adobe within 24 hours of its’ launch. That website is Dear Adobe. There, you can agree with, disagree with and post your own gripes about all of Adobe’s products.  You can also mark certain gripes as inaccurate.  Adobe got in touch with the site’s owner, and quickly began working with him to devise a way for him to package the gripes in a way that Adobe can use them.

So there is hope that the most popular of the gripes will be addressed in the future, and we have a voice that we can use to help Adobe to better meet our needs.  Today, they’ve responded to the top 25 After Effects gripes!

CS4 is really impressive, though.

I am thoroughly impressed with the CS4 line, so far, and can’t wait to get my hands on the software.  I’m really hoping that the improvements to the software really do help with performance.  I’m also looking forward to the new CSS features in Dreamweaver.

One thing that I would love to see in Dreamweaver’s code view in the future is something that Textmate has (I’ve only seen it second hand, I’m on a PC).  The ability to highlight code in columns and rows, without highlighting everything in each row.  Then, when typing, it types the same thing in every line that was highlighted.  That would save a lot more time when working with code.

Either way, though, the code finder stuff in Dreamweaver CS4 is going to be very fun to use.

I’m looking forward to it.