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This is similar to track automation, but the automation is added to clips instead of the tracks. Note that when viewing Track Keyframes, you cannot interact with clips in the timeline the same way you can when viewing Clip Keyframes. This changes the Premier track to show the Track automation, away from the clip keyframes, also called Rubber Bands. You can view the various track keyframes by clicking on the вЂњShow KeyframesвЂќ icon in the track header and selecting the approbate keyframe (in the above cases it would be вЂњTrack Keyframes>MuteвЂ¦вЂќ selection). The most important is to know that this dropdown can be accidentally turned on and Premiere will start writing keyframes during a simple play of the timeline. I can go into what the different modes mean and how they perform later. This tells Premier to ignore all track automation (including audio track effects). If you find that an audio track is doing something that you donвЂ™t expect, look here first, and set the track to вЂњOffвЂќ. This is where you turn on and off the track keyframe automation. If you hover over the dropdown the tool tip will say вЂњAutomation ModeвЂќ. For each track there is a dropdown right below the track Pan knob, with one of these names labeled: Off, Read, Touch, Latch, Write. This is controlled via the Audio Clip Mixer.

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I can quickly cover how to see the different types of automation and how to turn it on and off: Premiere could to better with showing when there is keyframe data being followed to avoid issues like the ones above, but that would be for future updates. It is not, it is just play back the keyframes. This can freak out new users that are not expecting it since it seems that Premiere is doing things on its own. So, if you accidentally put Premiere into one of these modes, simple pressing play will start writing keyframes, and more importantly, following the keyframe automation that already exists. One of the catches for this automation system is that, as a user, once you enter certain modes, keyframes will be written by just playing though the timeline, overwriting existing keyframes, or accidentally adding keyframes but just hitting the mute button or other audio manipulation. Another way to think about: This is automatic keyframeing (or rubber banding) based on the mode selected.

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Less so if you have ever mixed audio in Pro Tools or Audition.Д®ssentially, Premiere can record any audio changes in realtime, and then play them back to facilitate performing a вЂњmixвЂќ. This might be particularly difficult to understand if you come from Avid or Final Cut Pro 7. I suspect that you might be hitting some of the quirks of how Premiere has implemented the audio automation.

It is a powerful tool, with a relatively steep learning curve for novices. Realtime parameter automation was the result. When audio mixing was moved into the computer, and the sole manipulation device was a single mouse, the workflow needed to be modified.

WIth these types of automation systems, they were meant to replicate working on analog audio hardware, when an audio engineer could reach out and move multiple faders and knobs in realtime as the audio вЂњMixвЂќ was performed on a large mixing desk. The track automation system is one of those (it has also been there for well over a decade also, so this isnвЂ™t new). Premiere has many elements of a Digital Audio Workstation built into it. I looked at this and am not seeing anything out of the ordinary with recent build of Premiere.

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