Multi cam... (2 questions)

I am unfamilar with "multicam editing"  per se... in PPRO  and just trying to avoid issues down the pipeline.  (Never done it this way before)
Q1.
Is there any particular reason (or advantage)  that one gains by creating  a multicam edit in the workflow as advised by multicam tutorials
eg. Make a Sequence and synchronise footage in 4 video layers.> Nest Footage in a New Sequence> Edit in Multicam Monitor etc
(This means one has 2 sequences in the project ; 1 x 4 layers and 1 x nested)
In PPRO, one can  turn any layered sequence into a Nest.  Why not just do that?  (Is there a downside to doing so?)
Q2.
I really need to get this multicam edit into AEFX - at clip level (edited, sequenced and synchronised). eg each clip is separated in AEFX so it can be qworked on individually and native.
Will the multicam edit workflow allow this in a Dynamic Link?
Any suggetsions welcome and appreciated.

I wondered why.
Fundamentally, there is no difference. Functionally, there can be, and I've used both methods for different purposes.
When my edit sequence is going to match my sync sequence, e.g. DVCPRO HD 720p24, I'll build the sync sequence and then select all the angles and nest them. Enable multicam and you're good to go. However, I occasionally edit in a different type of sequence than what I sync in, e.g. DV Widescreen with clips synced in an HD sequence, so in that case I build the sync sequence and then manually nest it into my edit sequence. That way, I'm controlling the variables for the sequence settings; when you use the Nest command, you're locked to whatever your original sequence settings are. You can get where you want to go with whichever road you take.
As far as sending a multicam edit to AE, depending on what you're trying to do, it's difficult or impossibly messy. If you're just looking to drop effects on each individual angle, simply use Replace with AE Composition on each angle individually in your sync sequence; you'll have two to four DL comps that operate as your source footage. If you go that route, I recommend first nesting each individual angle into its own sequence, so you can go back to the original footage more easily if you need to.
If, however, you're planning on doing transitions, etc. in AE, you're going to have a painful experience. At the moment, PPro's multicam and AE don't really mix that well. Try a small example, and you'll see. It's awkward, at best.

Similar Messages

  • Multi-camera edit question: end clips cannot be separated from audio

    I have a synced three camera project that I have almost finished editing. I want to select the last video clip in my sequence and roll it back, while keeping the audio in place.  The idea is to fade the picture to black while the synced audio continues as credits roll over black.  However, I cannot find a way to select video only on the clips at the beginning and end of the sequence.  I can select and separate any video clip in the middle of the sequence, but not the clips at the ends.  I must be missing some keystroke.  How do I do it?
    I am noe to Premiere Pro and am using version CC.

    Hold down ALT while you trim.

  • Multi CAM Question!

    Okay so I have two questions here
    1) How do you sync two cameras together? For example I will be filming a school event and I want to make sure they are both synched up so that when I go into post editing it will be very simple to use the MultiCam function. Someone told me to have someone take a Picture with flash on the stage once both cameras are rolling and to place the input on that point in FCP
    2) Once I import the footage from the XH-A1 how do I go in and input the footage from the Canon Mark 2? I already have a shortcut setup for this camera as far as the codec goes but how do I import the footage when the settings are already fixed for that of the xh-a1. Does that make sense? And once I get them both imported and on the same timeline how will they function together sense they are slightly diff as far as resolution goes.

    The flash does not sync the cams, it simply gives you one easily identified moment to set your IN point. I prefer a clapper as it is easier to find using the audio waveform and audio is sampled many more thousands of times per frame so it can be more accurate.
    Lots of posts here on how to import material from the Mark 2. Do a search.
    For multi cam to work, the footage must be the same codec, time base and resolution.
    Once captured, convert everything to the same ProRes format, including timebase and resolution.
    Read the section in the Manual on Multicam +very carefully+ before you start. I suppose there are some online tutorials as well.
    x

  • Unique Multi Camera Question. Can't Find answer.

    I have an existing sequence in Adobe Premiere. I have pain stakening taken the time to line up all my cameras. Some of cameras were only running some of the time during the wedding. And others were turned on and off during the wedding. (I know...not smart) Adobe was unable to sync the audio automatically  beacuse it was pretty bad on some of the cameras.
    My questions is....how can I turn the difference tracks in the sequence I've already lined up into multi-camera mode. I really don't want to have to turn on/off each track to see what the best shot is and using markers will be very difficult as well.
    Is there a way to do this?
    See all the little clips?
    Thanks for your help in advance!

    Yes, I've looked at a few "Multi Cam" videos.
    I don't want them to sync my audio (I've already done that), I want to turn all my tracks into multi cam. I'll try to do what Jim below says and see if it works.

  • 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

  • Multi cam shoot using  P2 cards. How to move clis to timecode positions

    multi cam shoot using P2 cards. How to move clis to timecode positions. We were using free TC. I want to a large # of clips from both cams. and have them move to the correct TC position on the timline. In Nuendo eith audio u hit apple a or ctrl a right click move to orgin. Avid will take care of it for u. FCP???

    If you read the "Apple Pro Training Sereis; Final Cut Pro 5" book, it's very easy. You can sync the clips manually by setting In or Out points, specifying TC, or using one of the two Aux TC fields. Since this is the first, and most basic step in doing Multiclip editing, I'd suggest you get the book, or read the appropriate section of the User Manual. I don't think anyone wants to post a full "how to" article in a forum.
    It can be done, you're clips have to all have been recorded with synced TC, or they simply won't sync up in any NLE. Read the book. Cause even if I did have the time to explain FCP's Multiclip editing in this forum, you'd still have questions that are in the book.
    If you actually walk through the first steps of building a Multiclip to edit, it's blatatnly obvious in the first step. I'd give it a try first.
    Problem is the DVCPRO-HD codec is going to require a higher end Mac with tons of RAM and either RAID, or internal drives to do a DVCPRO-HD Multiclip, as DVCPRO-HD (P2) is a pretty high bandwidth codec. I use it daily, I know, it takes horsepower to do.

  • Need help with the new Multi-cam feature in CC

    Hi,
    I'm trying to use the Multi-cam feature in CC and have a few questions, so would be happy with help/advice for any of the issues below. The platform is Windows 7 Pro 64bit.
    The first question is what am I doing wrong? This question relates to the fact I'm trying to use Multi-cam and encountering a lot of frustrating glitches, as sometimes it seems to work and at others it doesn't.
    The video I'm trying to edit comes from a dance show so I created a sequence called Act 1. I then highlighted the six clips of Act 1 with Cam 01 at the top, as I wanted the audio from this clip and made a Multi-cam feature using the audio synch. I dragged it to the sequence, set the prog window to Multi-cam and was amazed at how well it had synchronised all clips, as I could see all six clips with great audio synch from Cam 01. So far so good and after thinking how brilliant it was, things went downhill from there
    I started by using ripple delete to drag to the start of Act one and then tried editing with Multi-cam. That's where I encountered the first problem, as sometimes it seemed to toggle between cams but didn't put edit points in and the selected cam had a yellow border and not a red one. At other times it inserted edit points when I changed cams and the selected cam has a red border. I can't work out what I'm doing, or not doing for this to happen. Can anyone help please?
    The second question is how do I cut audio and video at exactly the same point, as I want to edit out pauses in between the different elements of the actual dance show. When I use the razor tool in Multi-cam it only cuts the video. I tried highliting audio and video using shift, but to no effect. If it matters audio and video are shown as linked when I right click. I thought I might get it to work if I revealed all original clips within the MC nest using the technique shown in "Adobe Learn." This was Ctrl double click, but it resulted in the third problem.
    When I tried Ctrl double click I ended up with only Cam 02 showing in the V2 track and after some frustrating attempts at resolving this issue I decided to start all over again. I deleted the PP project and created a new one, importing everything again. I followed exactly the same procedure as I originally did to create a Multi-cam nest, but when I dragged it to the new sequence I saw Cam 02 in V2 of the sequence, which is the same as it was before I deleted the original project. Premiere Pro seems to have annoyingly remembered the actions that went wrong, so please can anyone tell me how to tell Premiere Pro not to do this?
    Thanks if anyone can help me on any of the issues.

    In Premiere Pro, multi-camera is accomplished by nesting a sequence.  There's a new, more automated way of doing this in CC.  View the steps here: http://blogs.adobe.com/premierepro/2013/04/a-quick-walkthrough-of-editing-a-multi-camera-s equence-with-clips-synchronized-by-audio.html
    HOWEVER, you must be warned that multi-cam in CC is currently broken.  A patch is in the works, but until it is released you should not use multi-cam in CC.

  • Dynamic link problem, PPro cs5 - AE cs5, multi-cam sequence

    This is odd. I'm working on a two camera interview in Production Premium CS5. Did the standard stuff - a source sequence with both cameras, did some rough editing here (syncing the two cameras, trimming the clips, etc.). Then nested the source sequence into a multi-cam edit sequence. Used the multi-cam monitor to switch back and forth between cameras, etc. All is good.
    But my editor wants to make three separate videos from this interview. So the logical thing (so I thought anyway) would be to nest this muiti-cam edit squence into three separate target sequences. Then I could get the camera switching done just once, and slice-'n-dice the three target sequences to make the short-'n-sweet individual videos that make my editor happy. Did this for the first target (a single question and answer). The result looks fine in PPro, and editor approves. All that's left is adding the lower thirds.
    Everything fine until I go to export to AE via dynamic link so I can add lower thirds and finish up. What PPro sends to AE isn't just my target sequence, but it also sends the multi-cam edit sequence and the source sequence as well. But.... it ignores it all and will only show me the Acam footage. Bcam doesn't show up at all. Clearly this isn't working. But now I find that I can't even break the links. So I can't even start over. Sigh...
    Two questions: First, how does one export a multi-cam edit sequence via dynamic link from PPro to AE, and have it show up in AE looking like it does in PPro? In other words, what did I do wrong?
    Second, how can I recover from this? Do I really have to delete my target sequence in PPro and start over (and by extension, delete the AE project also)? Is there no way to sever a dynamic link once it's made?
    Bruce Watson

    Um.... didn't work. Seems that AE and PPro have different ideas of what "transparency" mean. The lower thirds composition in AE has a transparent (black) background which works fine in AE (I've used this lower thirds quite a bit in AE so I know it works pretty well), but when I import it into PPro it shows as white, and is completely opaque. Lettering doesn't show up either (but the letters are white so that's not such a surprise given the background), but the motion is still there. None-the-less, either way I tried it (copy and paste, or export from AE as a PPro project, then import it in PPro and drag the AE built sequence to the timeline) didn't work.
    Trying to export just the lower third comp from AE through dynamic link as a PPro project didn't work either. Failed weirdly. It popped up the right sequence creation box in PPro, so I could pick AVCHD 1080p30 as the sequence type (matching the other sequences in the project), and created the new sequence with the correct name. But the sequence was empty. It wouldn't let me drag the lower third sequence anywhere either, so I couldn't put it on a timeline.
    Sigh... this isn't supposed to be this difficult. But hey, if it was easy anyone could do it, yes?

  • 3 cam multi-cam, HDV or DV?

    First, let me say I read this http://www.kenstone.net/fcphomepage/when_to_staynative.html and even emailed the author about the HDV->DVD workflow. His response was "If you're going to have no HD distribution now or any time in the future, then downconverting to SD on ingest is reasonable. I assume that anyone shooting in HD will be protecting for future and should edit in HD, before doing any current SD downconverts." To my defense, I always keep my tapes and the FCP Project file so I could media manage in the future, but HIGHLY doubt that for what I do I'll ever need to do that at least anytime soon. That being said, I will be doing a multi-camera shoot at the end of the month, two cameras over two days, but one camera on the second day will be strictly a backup, so I'll have 3 angles to mix together. I have two eSATA drives which is what I figure I'll need to end up using for the bandwidth. DV and HDV are the same bit-rate, but not the same processor intensive wise. I've read on here for the past several years the horrors of HDV as a codec, aka, the conforming process. I've also read about rendering in ProRes or even transcoding the footage.
    Here's my question, for a 3 angle multicam going only to DVD, should I A. ingest and edit as HDV then export for DVD, B. ingest and edit as DV via the downconversion on my camera, or C. other.
    The thing being recorded is a dance show, so I may need to split each dance into it's own multiclip if the time between dances is different each day, but that shouldn't affect my workflow. Really the only thing I edited entirely HDV was a high school's musical which took days to compress for DVD, so I'd rather not need to go through that excruciating process again.
    Thanks to you all and any opinions?
    -Brian

    i have a AVCHD camera (sony HDR-SR1) and its just great! it records on a harddrive and that makes saving/ deleting footage so much easier. the touch screen interface is super simple and took seconds to get used to.
    i havent anything to compare it to besides a realy old low res camera that records on a miniDV so i cant realy make any desitions for you but i can tell you this:
    i realy enjoy my AVCHD, but MAKE SURE THAT IT IS COMPATIBLE WITH WHAT YOU NEED IT TO BE! before this summer i suffered greatly to be able to edit on Final cut express and i could not keep it at a HD quality
    if ur using iMovie 08 then its all good though :P
    but be rlyyyy carefull
    only way u know itll work w/o doing any research is if it has a firewire
    -Josh

  • 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 AVCHD editing workflow in Premiere CS4

    I have a client project that has me wondering what workflow to use and I someone on this forum probably has the expertise to know the right solution. My requirements...
    1. Client is recording a scene using 4 cameras at once, like a live TV show is shot, all AVCHD footage, 1920x1080px 17mbs, square pixels.
    2. I must playback in Premiere the 4 video streams in real time and choose one camera to output, like a director would switch a live TV show. So, all 4 streams are playing in Premiere's multiple-camera editing windows. Each show I'm editing is about 1 hour long. The advantage of multi-camera editing of course is I can play all 4 cameras at once and live switch between them in Premiere to arrive at a 1 hour show in 1 hour of editing time.
    3. Until I can upgrade my hardware that can possibly handle 4 streams of AVCHD, I'm stuck needing a workflow to convert the original AVCHD to some  lowres format, edit those offline low res copies to get my edit decision list, and then reconnect the online HDV AVCHD clips to export through Media Encoder for a final production. My output format is Flash F4V 640x360 px square pixels for Internet playback.
    4. Hardware: I'm running Windows 7 RC using CS4 Premiere 4.1, 4gb RAM, 2.4ghz dual-core processor with 64mb Intel turbo boost on a notebook PC. I do have 4 hard drives to hold each camera's footage on its own drive, and a fifth drive to ouput the edited version to, in addition to a drive to hold my OS and Premiere. The external drives are connected via eSATA to the notebook.
    Question 1: what do you suggest as the lowres format I should convert my AVCHD footage to for multi-camera playback/editing in Premiere?
    Question 2: do you think it's even possible to buy a desktop PC that can handle playback of 4 multicam AVCHD native format files in Premiere in real time? I'm concerned this may be too much for even the most powerful systems, and I would need to resort to editing lowres footage even with the most powerful desktop. As you know, decompressing one or two AVCHD streams is taxing to a PC so 4 at once is a challenge.
    Question 3: an alternative workflow would be to feed live video out of the HDMI connectors on the cameras into four HDMI capture cards (Intensity Blackmagic) and capture uncompressed HDV bypassing AVCHD compression altogether, but the disk space required would be substantial. Does this make sense? I've even considered feeding those 4 HDMI feeds into a video switcher between the cameras and PCs but the cheapest solution I can find that can provide genlock (frame sync) between the 4 cameras for clean glitch-free switching is quite expensive, thousands of dollars invested.

    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.

  • Launch Multi-Camera Monitor - Sound goes away

    Hi,
    I've been re-trying this for two days - and can not, for the live of me, figure out what is happening.  I have started from clips in a new folder and re-building the project from scratch - no joy (old Navy term).  The thing that is frustrating to me - is I've done this before and everything worked fine.
    I realize you-all are quite precise,  so here is my process:
    I have a sequence where I have the clips from two cameras and they are syncronized (using Plural Eyes)
    I have extracted .WAV files in Audo 1  and 2 (linked to video 1) and Audio 3 and 4 (linked to Video 2) -  (I did a render and replace)
    I create a new sequence
    from the project window - I drag the synced sequence to this new sequence - it becomes nested - (I have sound - everything is great) 
    In the Nested sequence I select and rightclick the clip and select Mulit Camera >> Enabled and the title of the sequence gets a new prefix [MC1] -  (I have sound - everything is great on the entire sequence)
    THEN - on the Menu Bar - I click Window>>Multi-Camera Monitor - the Sound disappears. 
    Results:
    This sound should be coming from Video 2  and it's link to Audio 3 and 4 - But no deal......  It is soundless when looking from both the Multi-Camera Monitor and the Program Monitor.  If I move further in the sequence where Video 1 happenes to be playing (Audio 1 and 2) - I have sound again.
    As a note: If I go back to the original synced sequence - everything seems normal - I have sound through-out the sequence.
    Question:
    What happended to the audio (3 and 4) in the nested sequence?
    Thanks,
    Chris

    This morning - I took a new look at theMulit-camera Monitor - and found a new button hiding on the bottom of the screen - I needed to select the audio
    This fixes my problem
    Sorry for the Alert!
    Chris

  • Work flow? How to link multi-cam sequences for DVD output?

    Pr cs4 (very new)
    Still taking baby steps each day... please take my hand and help me!
    Final output will be 2 DVD's (each DL) each about 2 hrs. Content are chamber music student groups in two recitals.
    I have assets from two camera angles. I have successfully practiced on one of the groups performance (10 min.) following the steps illustrated in a multi-cam tutorial.  http://www.adobe.com/designcenter/video_workshop/?id=vid0234
    This leaves me with a great multi-cam sequence for that group located in the Project Panel, exactly what I want.
    Now, I want to know what is the best method (workflow?) to ultimately produce a DVD containing about 10 of these type performances (one after the other) with chapter markings for each group, titles etc.?
    I have yet to use Encore and I'm guessing that is where I'll send the finished edit for DVD production, though I don't know at what step I jump there?
    Do I try to create one very long multi cam sequence of all the content, then send to Encore? Or can I create seperate multi-cam sequences (each performance) then link them together, adding transitions and make the DVD? This would be my preference to keep things more manageable, especially with audio synching.
    With my practice multi-cam sequence on the timeline, I tried to drag the same sequence from the Project Panel to the end of the timeline to simulate how this would work, but it does not add to the timeline as a clip would.
    This is probably childs play for you pro's, but we were all baby's at one time...I just happen to still be one!
    Thanks for your patience and advice,
    Kenny

    Yes I did...now toss me a cookie please.
    I am trying to quickly get up to speed in Pr CS4 to get this project completed. In the process, I'm trying to learn and understand the interface and correct terminology so as to make my questions intelligible to a community that posses vastly greater understanding than myself.
    Is there anyone who can help with my main question at hand? Namely, how to go about creating a full length sequence (in the timeline) made via the nesting of synchronized multi-camera clips within a new "multi-cam sequence"?
    As I said, I have completed a small test sequence in this fashion, nesting clips in a new sequence then using multi-cam monitor to record cuts. Now I need to add about 10 more of these together in a completed sequence to then send to DVD production.
    Is this intelligible?
    Thanks, Kenny 
          __0
       _ \<,_
    Date: Wed, 4 Nov 2009 09:11:06 -0700
    From: [email protected]
    To: [email protected]
    Subject: Work flow? How to link multi-cam sequences for DVD output?
    please take my hand and help me!
    Well, at least you had the gumption to admit that up front.
    >

  • Editing using Multi-cam option

    I have to edit a show I did not shoot- 3 panasonic AF100A  cameras supposedly synched TC wise, with the main camera receiving a feed the show audio board. Each camera has a different view, so I obviously want to pick and choose the best coverage to make a lean looking show a tad better. I've been told the best option is to edit in multi-camera mode. True? Using an iMac, with show files on an external HD. I imported each of the files into the project by clicking the 'private' folder for each. Then I selected them all, selected multicam option and then show in timeline. Couple of questions: do I need to sync the beginning of each clip or does the TC take care of that? It appears my main video and audio track is off a bit- should I just pull all the tracks as far to the left as possible to ensure timeline synching?
    How do I view each camera at the same time, so I can compare footage?
    I'm not ignorant, I just haven't used Premiere in years and I'm primarily a shooter, so any help  or advice is appreciated

    I have to edit a show I did not shoot- 3 panasonic AF100A  cameras supposedly synched TC wise, with the main camera receiving a feed the show audio board. Each camera has a different view, so I obviously want to pick and choose the best coverage to make a lean looking show a tad better. I've been told the best option is to edit in multi-camera mode. True? Using an iMac, with show files on an external HD. I imported each of the files into the project by clicking the 'private' folder for each. Then I selected them all, selected multicam option and then show in timeline. Couple of questions: do I need to sync the beginning of each clip or does the TC take care of that? It appears my main video and audio track is off a bit- should I just pull all the tracks as far to the left as possible to ensure timeline synching?
    How do I view each camera at the same time, so I can compare footage?
    I'm not ignorant, I just haven't used Premiere in years and I'm primarily a shooter, so any help  or advice is appreciated

  • My Premier Pro freeze up when I use multi cam edit

    Hi everyone,
    I am using Mac Book Pro 2.3G i7 4 core, 16G RAM, NVIDIA GeForce GT 750M 2048 MB, OSX10.9.5, with Premier Pro 7.2.2. When I use multi cam feature to edit,  screen have delay, and when I have more than 3 cam or if I press the buttons too fast, sometimes the program freeze up.
    I am editing RAW footage from my Canon C100 AVCHD, 24f.
    Questions:
    1/ is there any setting on program that can improve the situation?
    2/ if it is a hardware resouce issue, what Mac Pro I have to buy? I am thinking 32G RAM and 512G SSD, but a bit confused on the 4, 6, 8 core and clock speed. Should I get higher clock or more core? Or should I get basic CPU but upgrade the video card with more video RAM?
    Any user with similar experience please give me some insight.

    You're question is very general, more info please -
    What version of Premiere?
    Which Project Preset are you using?
    What clip format are you Importing?
    Computer specs?

  • Coodinating Colors in Multi-Camera Shoots

    I sometimes use three video cameras on a shoot: a Canon 5D II, 5D III and Sony HXR NX5U.  I white balance each camera at the exact same spot and same lighting conditions immediately before the shoot.  The video clips that are subsequently produced don't seem to match from a white balance perspective.  The two Canon cameras are fairly close but the Sony requires quite a bit of work in post in the Fast Color Corrector and 3 Way Color Corrector to get it close to the others from a white balance or color perspective.  Of course when you are doing Multi-camera video of a person speaking at a podium, the colors have to match as you switch from camera to camera.
    I am very familiar with the tools in Photoshop which allow you to match colors Picture-to-picture.  One technique is to use the eyedropper in one picture to get an R-G-B reading and then recreate those settings in other pictures.  My question is: are there such tools in Premiere Pro which would allow me to take a reading in one clip and reproduce that reading in another clip, by the numbers?  I say "by the numbers" because presently, I'm simply eyeballing it and by doing so am spending a lot of time and not getting that close.

    It would be nice, spectacular really, to have a full sync system in PPro. By that I mean a compact and easy way to sync  various video feeds temporally, and with audio, and with color. And with anything else that needs syncing. Right now we are missing pieces (like color) and the pieces we have are scattered around. We need a nice central place to do this -- Prelude maybe? IDK.
    As far as color goes, it's high time Adobe gave us a way to color sync to standard charts. It would be nice to be able to step beyond mere custom white balance to a full color balance. Instead of shooting a gray card, why not shoot a Macbeth Colorchecker chart? then have PPro analyze the chart and apply the needed color corrections to "true up" the video feed's colors? This would save a huge amount of time in post, and would therefore be a huge value add.
    If Adobe doesn't want to do this, how about a third party plug-in? For that matter, are there any already on the market that do anything like this?

Maybe you are looking for