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.

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Multi-camera shoot.. having import issues, could use some work flow advice

Okay, so I am doing some multi camera shoots. I have 2 Canon HV20's and 1 Canon HG10. The HV20's are being captured at HDV 1080i setting (1440x1080), and the HG10 is being logged and transferred coming in at it's different setting, (can't remember off hand what it is)
I am syncing these 3 with "in points", however becasue the HG10 is a different format I can not use it to do a Multiclip with, I have been using QT to convert it to HDV 1080i, but a 60 minute record seesion is taking 7 hours for the convert.
is there an easier way to get the AVCHD data from the HG10 to match the captured info from the HV20 tapes, or os there a setting to tell FCP that the multiclip doesn't need to use the same settings?
Or does someone have a better workflow I could use...?? I understand that just buying anothe HV20 would solve the problem, but I can't afford that right now, so I'm etiehr stuck only shooting with 2 cameras or wasting the time of converting to use the 3rd different format camera..
I could use some help or advice, thanks
also, I haven't been able to set my capture in's and out's and do a batch capture with the HV20's... I keep having to "capture now" to get the footage, I always get an error as soon as I tell the batch capture to start
Message was edited by: Chris Fritsche

understand that just buying anothe HV20 would solve the problem, but I can't afford that right now,
so I'm etiehr stuck only shooting with 2 cameras or wasting the time of converting to use the 3rd
different format camera..< </div>
The simple most direct route is to dub (or convert) your odd camera to the base camera's format (or convert everything to a single format). It's not a waste of time at all; simple and immediate and solves everything.
bogiesan

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Can someone point me to a nice tutorial on how to set up my multi camera shoot files so that I can do a mock "live switch" on my FCP? I am tinkering with the "Make Multi Clip" set up, but I just can't seem to figure out how to view the three cameras, make camera angle selections, etc.
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its not as hard as it may at first appear Pete
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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.
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Scroll down to find a whole series on color correction.
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Multi-camera acq w/IMAQ-Vision processing; how to translate buffers?

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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.
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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.
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Confusing Colour Issues with 3 camera shoot. Please help

Hey Everybody,
I have had to re-register, so this looks like my first post!
There is a colour issue which is seriously baffling us, we shot a fighting event with a 3 camera shoot. 3 Days, and on all 3 days the cameras seem to have produced different colour outputs dispite being on the same setting. Can anybody shed any light on how to match the colours here. All settings on the cameras were the same, so we are surprised that the footage has come out differently. The following day the footage from all 3 cameras were indentical. However this is the footage produced from the first shoot
We have tried bightness/contrast, levels, fast colour correction, Colour Balance and CB_HLS and still can't get the footage to match.
While it would appear there might be a slight hint of over exposure when we take the brightness right down, there is hardly any highspots.
If there is no solution for us to do, is there anybody who we could send a short clip, have them correct it and we can duplicate to the rest of the shots? If so what kind of expense do you think that would incur?
Thanks in advance

its important to use the same exact cameras on multi camera shoots. also important to take color meter and see what the lights give you. sodium vapor and tungsten and flourescent all need different " color correction" gels to make them equal 32k or 56k .. and its not just orange and blue correction ...its also green and magenta etc...
professionally , you cant do all that at the " lens " with cc filters..you need to actually get to the lights physically ( with scissor lifts or cranes ( manlifts ) and gel the lights too ).
Once you have your lights corrected and ready to shoot...all cameras need to shoot "color swatches - usually Kodak .. with a single light source that equals what your camera is set to ( color temp )...and that is used to get your balance correct in post.
That said it sounds like you are screwed...
To have someone try to correct that professionally would cost more than you can afford, or you would have used that " money " to correct your color etc in the beginning... in other words, if you could afford to send everything to a pro lab and try color correcting all that stuff, you wouldnt have this problem to begin with IMO.
My suggestion:
Since wrestling is a gritty sport and " manly " and full of emotion that is basically " tough " and " hard " ....trash the color altogether and make everything black and white... maybe increase your contrast a tiny bit ...or maybe add a slight " tone " to it....( not sepia which looks just " old " , but maybe slight blue tint ? ) ...something to make it look as gritty and hard as you can...
Then tell client you did it on purpose ! Is part of your concept to begin with... wow them with your creativity !

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.

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

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