A Better Way to do Multi-Camera

I am able to do multi-camera edits, synchonization and playback but I suspect I am doing it inefficiently. All of the tutorials I've seen start with only the clips that will participate in the multi-cam ALONE in a sequence. And I know all the steps from there. But what I don't know is how to efficiently proceed if there are may clips in a sequence and I only want to do multi-cam on one stack of clips in the sequence. For instance, let's say that I have 10 clips on the timeline. All are on video and audio tracks 1. But the 6th clip also has multi-cam clips on video and audio tracks 2-4. What I currently do is
1. copy these clips (only the clips located in the 6th spot tracks 1-4 on the timeline but not the entire sequence)
2. paste them to a new sequence (sequence #2)
3. create another new sequence (sequence #3)
4. drag sequence #2 into sequence #3)
I know all the multi-cam steps after this.
The question is: is this the most efficient way to do this when I'm starting with a sequence that has clips on them other than the ones that I want to participate in multi-cam. I'm creating 2 new sequences to accomplish this. Can it be done in only one new sequence?

I edit a lot of things the same way you are talking about when you have many clips on video 1 and then just a few where there are mulitple cameras.
If there are only 2 shots (Video 1 and Video 2) here is what I do.
1. Line up Video 2 over top of Video 1 in the proper place.
2. Right click on the clip in Video 2 and select "Unlink" (Unlinking will unlink the audio and video. You do this so that when you cut video 2 you do not also cut the audio)
3. Place the CTI so that it is on your Video 2 Clip and then double click on that clip. This will open the clip in your Source Monitor.
4. BEFORE moving the CTI, Right Click on the tab of your Program Monitor and select "Gang Source and Program".
5. Now turn off the eyeball on Video 2
6. When you scrub through the timeline you will see both your video in both the Program and Source monitors moving. Unfortuantely you cannot just play the video and watch both. You can play it and watch the Program monitor and when you stop the Source monitor will catch up.
7. Use the Cut tool to cut out spots of Video 2 so you can see Video 1.
8. One tip is that if you are going to cut the very first part of Video 2 the best thing to do is to get the CTI where you want Video 2 to start and then use your selection tool to just trim it to that spot. If you cut it and delete it you will loos your video in the source monitor. Not that big of a deal because all you have to do is Double Click on it again and re-select Gange Source and Program, but it saves you from having to mess with it.
If I have 3 or more video clips I just highlight them all and right click and select "Nest". That will make your new sequence for you with all your clips you selected. Just then do a normal Multi Cam edit.
Hope this helps some!
Phil

Similar Messages

Best way to sync multi camera footage and audio?

Hi guys,
I know a lot of people use PluralEyes to sync clips in time. However, is there an easy way to do this without external software? I am missing something in Premiere? Did Adobe really not think of making this? I would imagine after all this time, this feature would be included.
What are your guys' preferred methods?
Thanks guys,
MrD

And, yes, I did search the forum before hand.
Oh, and another thing I should mention:
My DSLR (canon 5d Mark 2) Actually records the DATE and the TIME of when I hit the record button. This is located under the "Date Created" meta data which is viewable in the windows media browser(explorer). AND, it also says "Date Modified" to indicate when I stopped recording. This is very useful,
but is this a good way I can multiple cams synced in time?
Thanks!
Dave

Better way to sort multi dim int array

I'm tracking key value pairs of ints. I know that the keys will not repeat. I've decided to do this in an int[][] array
int[][] data = new int[2][many millions]This app crunches a lot of data so I'm shooting for the best memory handling. I push a bunch of key - value pairs into the array. I will likely populate many if not all data and not have to search until I'm done populating so I'm not sorting as I go.
I know that I can sort the single dim array data[0] but how can I keep the values array data[1] synchronized? I've tried a few things, all have been successful but I'm wondering if there's a better method. Currently I create copy arrays for the keys and values, sort the original keys, and loop through the copy keys. For each copy key I binary search the sorted keys and drop the value in the correct spot. I don't like having to allocate 2X the amount of memory for the swap arrays. Any thoughts?
Thanks
ST

Jos, thanks for the reply. I tried this method but I don't get as much
storage since each internal array counts as an object.Yes I know; maybe I've got something for you, waidaminnit <dig-dig/>
<shuffle-shuffle/> Ah, got it. Suppose you wrap your two dim array in
a simple class that implements this interface:public interface Sortable {
     public int length();
     public int compare(int i, int j);
     public void swap(int i, int j);
}I think the semantics of the methods are obvious. Given this interface
you can sort anything you like using this thingy:public class HeapSort {
     private Sortable s;
     private void heapify(int i, int n) {
          for (int r, l= (i<<1)+1; l < n; i= l, l= (i<<1)+1) {
               if ((r= l+1) < n && s.compare(l, r) < 0) l= r;
               if (s.compare(i, l) < 0) s.swap(i, l);
     private void phase1() {
          for (int n= s.length(), i= n/2; i >= 0; i--)
               heapify(i, n);
     private void phase2() {
          for (int n= s.length(); --n > 0; ) {
               s.swap(0, n);
               heapify(0, n);
     public HeapSort(Sortable s) { this.s= s; }
     public Sortable sort() {
          phase1();
          phase2();
          return s;
}kind regards,
Jos

Better way to connect nylon camera strap?

I'm concerned about the connection to the slender metal slots on the side of my 7D. Is there a more sure method -- the 7D is heavy and I recently had a strap separate at the juncture.

I don't use the factory strap -- partially for this reason, but mostly because of comfort.
Check out either (or both) the Black Rapid straps and the Carry Speed straps. They make several models. I use a BlackRapid RS-7 strap.
These straps attach to the tripod mounting bolt socket on the bottom of the camera (or to the bolt socket on a lens mounting collar if you've got a heavy lens attached.) The mount bolt slides on the nylon strap and you wear the streap over the shoulder opposite where you rest the camera. This means the camera rests quite comfortably upside down when you're not using it. When you grab the camera to lift it to your eye for shooting, the bolt connector slides up the strap. It includes some limiters which allow you to restrict how far it can slide.
These things are MUCH more comfortable if you're going to be wearing a camera all day.
The traditional strap was designed in a time when a cameras didn't have long lenses. Today's camera lenses make the camera point downward and that puts a pinch on the strap connection as well as makes the camera not very comfortable to wear.
The Carry Speed brand strap has an optional attachment plate which also includes an Arca-Swiss style dovetail plate so the camera can still be mounted to a tripod head (as long as the head has the standard Arca-Swiss style 1" wide dovetail saddle.) without needing to remove the strape or plate (although disconnecting the strap is a simple operation and you can leave the dovetail plate attached.)
Tim Campbell
5D II, 5D III, 60Da

Premiere Pro Multi-Cam Angles on External Monitor

On Mac OS 10.10.3 with a Blackmagic Intensity Pro and Premiere Pro CC 8.2...
Is there a way to show multi-cam angles on an external monitor connected to the intensity via HDMI? Enabling "multi-cam" in my timeline only shows the angles on my computer, not the external monitor. The external monitor only shows the active angle.
The feature is available in FCP7 with the click of a button --> show multicam angles.

One editor's huge oversight is another editors yawn, of course. But for those like yourself doing much multi-cam with clients looking over their shoulder, yes, this would be a biggie. And you'll not find any disagreement about wanting it. So ... how about filing a bug/feature report about this? The teams actually do quantify these over time, and the bean counters look at these numbers as part of the logic of where they allow budget for changes/fixes to be allocated. So the more filed the better chance we'll get something like this changed.
Adobe Bug Report /Feature Request form ...
https://www.adobe.com/cfusion/mmform/index.cfm?name=wishform
Heck, file one weekly if you want!
Neil
(well known for filing such requests ... )

CS6 Multi-camera greenscreen & multicam monitor?

Does anyone know if there's a way to do Multi-Camera Monitor editing, when the source footage uses multiple cameras against a greenscreen, when the greenscreen replacement layer is to be unique for each of the 3 angles?
I recently shot a few instructional videos in a greenscreen studio. My setup was such that I had 3 cameras, for three different angles, and remotely-recorded audio.
Now in the process of editing, I've hit a bit of a wall, and was hoping for some help.
I'm using Premiere Pro CS6, and I've set up the project as such:
The sequence in the timeline has 6 video layers: 1 layer for each of 3 camera angles, and 1 unique background replacement layer for each camera angle.
Now I want to use Multi-Camera Monitor to do my angle cuts. The problem is that Multi-Camera Monitor sees the 6 different video layers as unique camera layers.
I want to know if there's a way to do multicamera editing such that I can lock each camera and background replacement layer - such that Multi-Camera Monitor sees them as one.
My first attempted workaround was to create individual sequences for each of the 3 angles give them the background replacement treatment, then nest each of these into a new sequence, and go from there. The problem I've found in doing this is that the audio waveform display for each of the individual sequence layers disappears (once they are nested in the big sequence) - so I didn't see a way to sync things up without an audio source.@
I *could* always create and export each of the angles and replace the greenscreen for each as it should be, export each of them, and drag these to the Project panel to use as my new "original layers". Just seems like a lot of extra work, and that there would be an easier way to do all this.
Also thinking I could create a master source sequence (every angle, background replacement, audio, synced up), duplicate it three times and delete 2 of the camera angles in each, then combine each in a nested sequence with the audio, then make my cuts in yet another sqeuence with Multi-Camera Monitor. Again, seems like this should be easier somehow.
Any advice would be very helpful. I couldn't seem to find any answers elsewhere. Thank you in advance.

Thanks for the note.
I thought about the first option - the problem is perspective (The background is slightly different for each angle, not uniform). And dragging the backgrounds to a BG layer later would be somewhat time intensive.
Nesting is interesting, but I've got so many of these videos, the Multicam Monitor way of editing together angles seems like it would be less work in the end.
Here's the workflow I think I'm going to go with:
Create a 'Master Source Sequence', and align everything. (Angle 1, Background for angle 1, Angle 2, Background for angle 2, Angle 3, Background for angle 3, Audio tracks).
Duplicate this sequence 3 times. Delete all elements from each copy except for one of the cam angles, and rename each to 'Cam 1 Sequence', 'Cam 2 Sequence', 'Cam 3 Sequence'.
Drag each of these 3 to a new sequence, called 'Prep for Multicam Sequence'.
Drag this to 'Mutlicam Cut Sequence', drag in external audio tracks from 'Master Source Sequence', cut with Multicam as normal.
Again, thanks for the follow up!

Is there any way to automatically refresh multi-cam target output

I have created a multi-cam output using footages from 3 HD video cameras.
After finished the work, I had to color correct some of the original footages many times. Everytime, I had to go through the entire process of
- Loading the color-corrected footages/sequences
- finding the sync point and synching them
- creating target sequence and creating the output using the multi-cam monitor window (finished clip runs for 45 mts)
Is there any way I can instruct Premiere Pro (CS4) to refresh the final multi-cam output from the updated versions of source clips. In fact, I do keep the same sequence names for the source clips.
Alternatively, is there anyways to re-apply the sequence of how I captured multi-cam footage in the multi-cam monitor (from 3 cameras) to the newly color corrected, synched target sequence.
I am not sure whether I am making it clear myself.
My hope is someone would have faced this problem before and understand what I mean.
Thanks
Sundar

Jim
Thanks for your quick response. I already tried that - it didn't work for me.
My original clip is part of a premiere project where I copied the clip as another video clip of same length as the original. Then I applied 'multiply' blend mode to the video 2 to correct the over exposure. I did similar to the other 2 video footage as well.
Then I pulled all three premiere projects in to another project where I did my multi-cam work.
After my cut, if I go back and make changes to any of the underlying projects(sequences) - it doesn't get reflected on the multi-cam cut.
Thanks
Sundar
Sent from my iPhone

Multi-plot Graphs, is there a better way?

I am still not good at graphs in LabView but I think I am making some programs and I can usually get a graph to show with I want it to show with only a few hours of dinking around with it...
Anyway using graphs certainly makes for messy code unless there is a better way to wire this. Basically this graph shows four temperature probes and is updated every minute. Every 15 minutes a check for stabilization is run. Seemingly the only way I have been able to get multiple plots with Time as the X-Axis is to use an X-Y chart, but I have to index my readings out individually and put each in it's own shift register, and add it to the graph separately.
There must be a better way?
Solved!
Go to Solution.
Attachments:
G2.jpg ‏258 KB

I think part of your problem is you are not aware of the "concatenate inputs" option for build array. You don't need multiple build arrays for the array of clusters you are wiring into the graph (pink wire). Just expand the build array, wire in all your clusters, then right click the build array and choose "concatenate inputs". Next, you can use a cluster to store all your graph arrays (orange wires) which will greatly clean up your diagram.
CLA, LabVIEW Versions 2010-2013

A better way to deal with lost hyperlinks when converting Robohelp to Printed doc?

I have inherited a 750-page manual that is
"single-sourced" in RoboHelp X5. When I generate printed
documentation, all of my hyperlinks and converted to plain text.
Everytime we release a new version of the manual with any changes,
we have to re-generate, and then manually go into the MS-Word
converted document and re-create some 350 hyperlinks and page
number references. Somebody please tell me that there is a better
way to do this, or a better tool to manage single-source
documentation.

Another post has been raised relating to this problem. See
http://tinyurl.com/yvpaut
I am replying here is this is where most of the relevant
information is.
You found that using the Style Mapping template solved the
images problem but the document stopped generating at 450 pages.
That was sort of what I hoped for. Rather than go to the step I
will suggest in a moment, I suggested you try something else but
you never came back to the forum to indicate you had tried it, so
the assumption is you did and it worked. Patently it did not so
let's try what I would have suggested next.
On my website there is a topic on Print Issues and one of the
them covers Malformed Topics. Try looking for <p
style="mso-bookmark: as suggested in my earlier reply in this
thread. You can try RH's Multi file find and replace but FAR from
http://www.helpware.net/FAR
may get better results. I think with this error you usually get a
message. Do you have the Output pane opened and have you read right
through it for clues? View | Output on the menu. Whether or not the
Output pane mentions this error, I would search for it anyway.
Other Points:
A] It could still be a resource problem. The document is very
large so, as Harvey mentioned, resources come into it. I know the
PCs that won't play nicely have good resources but whilst I am no
expert in this area, don't foget XP is using more of them leaving
less available to you. It could be an issue but I am inclined
towards it being something else.
B] I also suggested a hunt for a rogue topic.
"What I would try is copying your layout so that you have
three versions of it. Then delete two thirds from each one. If all
three work fine, it sort of confirms that size is a problem. If one
fails, your on the track of the rogue topic."
Did you try that? Like I said, if all three work fine, then
we are back with the resource problem but we will have ruled out
other issues. It should take less than fifteen minutes to set that
up. Longer to run it but you can be doing something else at that
point.
C] On FrameMaker, no real answer but you will soon see
evidence that Adobe are continuing to better integrate all the
products we are using. I don't think you will see what you want in
the upcoming version though.
NEXT:
1] Please search for <p style="mso-bookmark:
2] If that fails, try creating the three layouts.
3] Then post back how it went. If unsuccessful, tell us if
the Output pane gave any information about things the process did
not like.
Let us know either way as if one succeeds and you post that,
it helps the next person with the same problem.

Multi camera project, Online/Offline. Major issues reconnect/re-digitize

Ok gang I got brain bender.
3 camera show, Multi camera project shot Digi-beta. Brought the tapes (3@90min) in low res (dv50) and now I need up-res the files or as apple would call it “online/offline”
According to the book this can be done a few diffrent ways. I have explored these ways and I’m failing...very very badly.
Attempt #1.
- took time line into media manager made the sequence “offline” save the project to new folder in drive with new settings (10-bit). All looks good till you try to recapture at 10-bit. Clip names get changes and numerical extensions apple put on during “make new clip” don’t match. In short I have a show that wont go. FCP wants to digitize everything
Attempt #2
- took time line into media manager made the sequence “offline” Selected the clips batches of clips and then re-digitaized. Again clips don’t match and FCP wants to digitize everything.
This is where I need your help. What can I do to make this process work? Below are my next moves...but before I spend another 18 hours in a bay I want to make sure I get some other input.
Option 1)
Encode all the tapes in 10-bit, Try to reconnect. I would like to stay away from this because the space needed for 10-bit is out of this world and I do have other projects. Again I’m looking for that secret 1,2,3 to making clips only re-digitizing.
Option 2)
try some other method I haven't tried yet. ( this is the one I’m hoping for)
Thanks for your time an I hope it hear from you ASAP as I’m dying over here. Multi-clip with online/offline it’s exactly in the index in the FCP user guide. If any one has some posting or web pages I could book make for future that would be a big help.
Thank you all for your time in advance
Jeff

I must playback in Premiere the 4 video streams in real time
Good luck with that. Many folks have trouble with even one stream.
edit those offline low res copies to get my edit decision list
I'm not sure offline editing with AVCHD will be possible because of the folder structure. You may not be able to 'replace' the lower res copies with AVCHD.
My output format is Flash F4V 640x360 px square pixels for Internet playback.
Oh, man. Shooting HD of any flavor is just overkill that adds unnecessary work to the process. Have your client shoot in DV.

Best way to mix multiple camera angles from multiple performances?

There has to be a slick way to do this, but I can't seem to figure it out. I'm hoping someone can offer their advice on the best way to approach this project. (I'm using Premiere Pro CS4)
I have footage from 2 performances of a high school play that I want to mix together, with 2 cameras used each night:
Cam1: Friday Right
Cam2: Friday Center
Cam3: Saturday Wide Left
Cam4: Saturday Wide Right
I only had 2 cameras, but I wanted to capture 4 different angles that I could later mix and match. The problem is that, as live performances go, you can't count on exact timing from night to night. It's really simple to do multi-camera editing for one night with the Multicamera Monitor (painfully simple), which works great for the 2 angles that were filmed on the same performance, but if I try to do it with footage from different nights, it only takes about a minute for actions onstage to be so far off between the two nights that I can't switch between cameras with reasonable accuracy.
Since I will be going back and forth many times among 4 clips, the ideal solution that I have come up with (but I don't think Premiere can do) is to have the ability to set markers or keyframes at certain locations that basically say "switch to MM:SS on camera X now" without actually trimming clips and overlaying them into a single video track. So basically determining which camera is "Live". This would let me do rolling edits without having to create a new clip every time I want to switch to that camera angle.
I may be missing something very simple or over-analyzing something that really won't be that bad, but I'm having a hard time wrapping my mind around the best way to approach cutting back and forth among the same 4 unsynchronized camera angles numerous times. If nayone has a suggestion I'd love to hear it.
Thanks,
-keen

Time - being in sync...
Most performances like that shot ( for like a music video ) are done to recorded music ( lip sync and play to recorded music ) ..so timing stays the same to the music... dont know what kind of performance you shot but this gives you an idea how tough it is to keep timing for music performances.
---------you wrote -----
Since I will be going back and forth many times among 4 clips, the ideal solution that I have come up with (but I don't think Premiere can do) is to have the ability to set markers or keyframes at certain locations that basically say "switch to MM:SS on camera X now" without actually trimming clips and overlaying them into a single video track. So basically determining which camera is "Live". This would let me do rolling edits without having to create a new clip every time I want to switch to that camera angle.
If you can't just use one night as suggested earlier by Jim and Stan....I would say bite the bullet and just do what you dont want to do...
make subclips ( trim clips or whatever ) and forget about rolling edits...
You might want to consider putting stuff in 4 sequences... day 1, day 2, day 3, day 4...
make a 5th sequence called "rough cut " or something...
each time you take a "clip" from one of the 4 sequences move that clip up one video channel ( and copy / paste to your 5th sequence )..which then gives you a visual quick guide what you have USED from the sequences...so you dont waste time scrubbing through stuff you already put into sequence 5....
You may be able to choose just ONE sound track from one night and just use THAT...and pick shots that FIT those moments in time OK from all 4 sequences....you can play with duration / time of a small clip ( as it is unlinked to the sound in this scenario ) to make it FIT better...but that would be very subtle changes...
ps...I keep forgetting...some people use the camera to record sound instead of a sound mixer, recorder, etc...so if thats your case what I suggested at bottom of mssg probably would not work...using duration / time...unless its REALLY minor adjustment...hmmmm, maybe export just the sound from a single performance and try using that as your ONE sound file for the performance...I really dont know what you would do if you recorded sound with the cameras...as I would never do that I dont know what to suggest if thats the case...

Multi Camera editing & stuff

I'm hoping to try something new if it is possible.
I want to edit a recorded multi camera sequance as though it was a live transmission i.e. have 'monitors' showing the various synced video sources. I'm not sure if this is possible with Adobe (I have the master collection).
If it isn't possible could someone advise on the best way to edit from 4-5 camera set-up (the cameras are set-up and are unmaned during meetings/ events).
Whilst I am posting I slip in a cople of simple questions. How do I clean my hard drive of old files (my C: drive is rapidly running out of space although all projects etc should be stored on by D: drive)? Is it possible to export back to a similar encoded file as originally captured from DV tape. Un compressed DV yields a data rate too big to handle easily (300mbps) and MS DV is much smaller (3mbps) - the original capture was just under 40mbps.
Thanks for any help you can offer

Hi chaps, thanks for responses.
Just to clarify my hardware is a home built PC with a i7-950 processor corsair SSD 256gb system drive and 2 raptors running raid 0 as by data (D:) drive.
I have read the help files about multicam view but unless I'm missing something you can only view one feed at a time. What I want to do is show all four syncronized feed running in real time so that I can choose which source I want.
All captures except 1 are from DV cameras (import via firewire - no problems) the other is a digital camera which uses the MP4 format (not so easy - problems encoding).
It would appear that if I tried to save the produced 1 hour video in uncompressed DV format the file would be just over 135gb!! (300mbps x 60 x 60 /8).
The captured files are about 13gb/hour.
Is there a better way to save the media for possible further editing i.e. a different encoder?
Thanks for your help

Multi-Camera Editing

Primiere Pro CS4 Creative Suite
Hi, Thanx in advance for your help.
We did a multi-camera shoot of a band. We ran through the set twice with 4 cameras, thats a total of 8 tracks. The 2nd run through for the stationary camera on the drummer can be dropped to reduce the count to 7. Hopefully the timing on the first and second set will the same. It should be close as these guys are tight.
I'm hoping some seasoned Premiere user can give me some pointers on how to best do a 7 camera Multi-Camera edit.
I was thinking I would do each 4 camera shoot as a multi-camera edit and then, assuming they synch, take the output from each set and do them as a two "camera" multi-camera edit.
Is there a better way?
Of course, if the don't synch...I try not to think about that.
Thanx,
Mel

Assuming all cameras were on continuous roll nd therefore in synch.....I think I would aproach it like this:
The band and the director probably know which of the two performances (takes) were the best.
That one I would edit multicam.
Then I would look at each of the rolls from the other take and cherry pick the shots.
An NLE, like PPRO ,can work a bit like a vision switcher in the sense (and I am sure you know this) that the Upper Track is dominant over under lying tracks. You can use this to your advantage as you cherry pick your other takes. eg find a section you might like to use then toggle the track on/off to see where it fits into the multicam edited sequence.

Multi-Camera Music Video

Hi, Thanx in advance for your help.
We did a multi-camera shoot of a band. We ran through the set twice with 4 cameras, thats a total of 8 tracks. The 2nd run through for the stationary camera on the drummer can be dropped to reduce the count to 7. Hopefully the timing on the first and second set will the same. It should be close as these guys are tight.
I'm hoping some seasoned Premiere user can give me some pointers on how to best do a 7 camera Multi-Camera edit.
I was thinking I would do each 4 camera shoot as a multi-camera edit and then, assuming they synch, take the output from each set and do them as a two "camera" multi-camera edit.
Is there a better way?
Of course, if the don't synch...I try not to think about that.
Thanx,
Mel

Mel,
What version of Pr are you using. Not sure that Multi-camera was added until PrPro. I've got it in PrPro 2.0, and it may have been around from PrPro 1.0. I just do not know about earlier versions of Pr.
If you are using PrPro, then you'll want to post HERE, as this forum is for Premiere, the precursor of PrPro. You'll get a lot more traffic and help in the PrPro forum.
Good luck,
Hunt

Multi-camera real-time editing skips the main video window ahead about a minute since update.

I'm working on a 2-camera edit, which I've done numerous multi-camera edits on this machine before with no problem, but now when I am playing back the footage with the multi-camera window and select the other camera, the footage in the main window (the one that shows the footage going on the timeline) jumps ahead about a minute. It doesn't matter which camera is choosen, it causes either to jump ahead about a minute in that main window making it almost impossible to edit.
The footage doesn't jump ahead in the smaller, individual camera windows on the left, just the main window. I'm not 100% sure, but I believe this problem just started occuring since the most recent update to Premiere Pro CC. I installed that update last night and wasn't having this problem prior to that.
How can I remove the most recent update to test this theory?
Specs:
Premiere Pro CC 7.2.0 (46)
Win 7 64-bit
2x NVidia GTX 560 Ti
16GB RAM
120GB SSD (OS)
2TB RAID 0 (Storage)

Kendall,
Great video showing exactly what you're experiencing. Thanks! Wow, something definitely seems severely wrong when nothing has changed on your machine except the version of PPr. Just a couple random thoughts (that probably won't make a difference):
1. Are you using Multi-cam Clips (i.e. created the way most Adobe tutorials teach you to create them), or are you using a Nested Sequence with Multi-cam Enabled (i.e. the way most on this forum would recommend)?
2. Does life get better when you exit Dropbox completely (or if you uninstall it)?
3. Do you have other items, like Dropbox, running? Close them all?
4. Does the same thing happen with different kinds of footage formats?
5. What version of Anti-virus? Try turning it completely off?
Again, you've probably considered the last two, but if not, it's the first thing I might try.
For what it's worth, I'm running CC 7.1 on Windows 7 64-bit and I'm not experiencing this issue. Not that it's ideal, but I performed the same test you show above while I was running Microsoft Outlook (a few emails open and 3 reminders), Chrome (about 15 instances with 2 or 3 tabs each). Also, background programs running: Microsoft OneNote (desktop version), Bluetooth and WiFi running, Spyder3 monitor calibration utility, CineForm Status viewer (a constantly running service of GoPro Studio) and Webroot Secure Anywhere. Even under these quick and dirty testing conditions, multi-cam is working great for me in 7.1 (I use Nested Sequences; not Multicam-clips). I had a real problem back in July/August that may have been brought about by using Multi-cam clips. I switched to using Nested Sequences, instead, and I haven't had that type of issue since.
I hope there is something helpful for you in all of that.
Best luck!

A Better Way to do Multi-Camera

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