My new user experience with PP5.5 (not so great)

I just wrote up a very long post and I seem to have trouble posting it -- "Cannot post now" error, even though I can post in the testing forum. This is a short post to see if it works...

11. Once I had my clips laid down and the video synced up, I started  to think about audio. I had 3 tracks of audio: a mono track from the  G12, and Channel 1 and Channel 2 from the JVC, both of which were  different mics. It turned out that we ended up using Channel 1 from the  JVC everywhere, but that was partly because it was easier to do and I  didn't know what I was doing. It appeared that there was no easy way to  tell Premiere to seperate out the Ch1/Ch2 audio in the sequence where  the clip was laid down, possibly because I had Captured clips with the  wrong audio setting (I didn't specify multichannel -- was it an option?)  Instead, I had to go the the Project Window, select the clip, and  choose Clip > Audio Options > Breakout to Mono. Then that  gave me a pair of independnt left/right clips with just a mono track,  and I could lay those down the timeline, and sync them up manually with  the existing video. This sync was easy since the left edges matched up  1:1, since of course the video and audio were recorded together by the  same camera. Then I had to unlink the original ("stereo") tracks and  delete them. Was there a better way?
12. The  aforementioned Breakout to Mono function is hard to find! If you select a  clip in the Project window, one of the choices in the context menu  (rightclick) is Modify > Audio Channels. It looks like it  might be the right thing but everything is grayed out and there's no way  to convert stereo to mono. It's particularly confusing that there is a  lot of overlap between that context menu and the menubar Clip menu, but not enough. It seems like there should either be complete  overlap or almost no overlap. But the degree of partial overlap makes it  hard to find things, and hard to remember which menu you found them in.
13.  Having established four sequences, each with two video tracks and 1  audio track, it was time to do the multi-camera editing. I found the  multi-camera documentation and the whole paradigm somewhat confusing.  That is, it seems weird that I have to lay down both of my clips into a  container sequence (as V1 and V2), and then place that container  sequence into an overarching parent sequence in order to do multicamera  editing. Am I missing something? Why the extra level of indirection? In  addition to being a bit nonintuitive, when I have my final sequence, it  means an extra level of double-clicking (except that doesn't always  work, so sometimes going back to the project window to find the  constituent sequence/clip).
14. In each of my  lowest-level sequences (that contained the clips directly), I had marked  In and Out points. I was surprised to find that that didn't seem to  affect their placement in the container sequence or the multicam clip  that contained that sequence. I figured I must have done something  obviously wrong, so just ended up trimming those sequences in their  parent sequences. This turned out to be error-prone (left some gaps),  but it got the job done.
15. The process of multi-cam  editing wasn't really smooth. The interface for recording multicam edits  didn't seem very amenable to adjustment, and it seemed like hitting '1'  or '2' on the keyboard obviated the need to press the Record button,  but not always. And restarting playing/recording sometimes meant that a  duplicate multi-cam edit was recorded, though sometimes multicam edits  were lost. It was confusing, but functional.
16.  Editing existing multicam edits in the timeline was awkard. I see now  that probably I should have used the ripple edit tool or rolling edit  tool to do those edits, instead of the default arrow tool. But messing  with those tools somehow we managed to get some video/audio  misalignments (or at least convinced ourselves that we did!) or loss of  sync, so we paniced and restrited ourselves to the regular pointer/arrow  tool.
17. The multicam documentation linked to  prp2it_multicam.pdf, but those instructions from 2006 are marked as for  Premiere Pro 2.0. I wasn't sure that they were safe to use in Premiere  Pro CS5.5...
18. In the multicam monitor window, there  was space for 4 cameras. But I only had two. No way to compress the  window to only show 2 cameras? That seemed a bit wasteful of screen real  estate.
19. Having done the rough multicamera edits  and then gone back and tweaked them, we were then concerned about audio.  Some of the clips had higher gain audio than others,so I wanted to do  gain corrections, generally to an entire clip. The first approach we  tried was opening an audio clip in the source browser and applying the  Volume Level effects control. But this would only give a 6dB boost. Why?
20. Next, we discovered that we could select a clip in the Project browser and choose Clip > Audio Options > Audio Gain.  Here it appeared that the clip gain could be arbitrarily changed. It  would be nice to have an interface to see all the places that a clip or a  sequence's audio gain could be adjusted, since having several places to  check was a bit confusing. Also, Audio Gain has both a "Set Gain" and  and "Adjust Gain" and their interaction was not 100% clear.
21. At this point, we were basically done. First shot at exporting to a DVD was via File > Export...Media MPEG2-DVD. it seemed to work OK, but then right as the progress bar was finishing, we got this gem:
it lasted for more than a few seconds and was definitely not confidence-inspiring.
22.  At this point it was 3am in the morning and mistakes were starting to  be made. Consultation of the manual appeared to suggest that it was  feasible to export to a DVD without using Encore, especially if one  wanted to forgo menus. That sounded great to me, so I took the resulting  .mpg file and rightclicked in the finder and chose Burn to disc...  Well, that was a coaster. But I think the documentation could have been a  lot clearer. Still, lack of VIDEO_TS and whatnot should have clued me  in, right?
23. Managed to cons up a menu in Encore and  burned the .mpg file to disc, producing a playable DVD. I gave up trying  to figure out how to do it without a menu.
24. Having  produced the DVD deliverable, there was then a request for color  correction. Of course this is not surprising, why would a Canon G12  match a JVC HD100U? No way! Back in Premiere Pro, I foudn it very  difficult to figure out how to color-correct camera 1 of the multicamera  against camera 2. If I used the multicam stream, there were 100s of  broken-up clips every time there was an edit. I certainly didn't want to  color-correct every one of them. I really just wanted to apply a  correction to all of Camera 1 and another one to all of Camera 2.
25.  So I opened up the sequence containing both cameras (that is later  imported into a parent sequence and marked as multicamera). Could not  find a way to get the Reference: window to show one camera while the  color correction window showed another. Ultimately we ended up muting  video channels in the sequence temporarily such that the  sequence/program window showed one clip or the other clip, while the  source window showed another. But it seemed like it should have been  possible to display both clips against each other for purposes of color  correcting one or the other.
So, I think that's about  it. I suspect there's a lot I did wrong, and certainly if I had more  than a few hours I would have taken the time to learn the program  properly (and still will!). But there are still a lot of spots where the  program could be better.
Anyhow, thanks for listening. Cheers!

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