Multi Camera with DSC-HX400V?

Hi, does anyone tried out the multi camera feature with the Sony HX400V or is that not possible to share the view of both devices?
Solved!
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I can confirm it works, I have Xperia Z3 Dual (D6633) and Cyber-Shot HX400V coupled in multi-camera mode, here's a screenshot:
Right: Cyber-Shot HX400V, Left: Xperia Z3 Dual (D6633)
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I'm editing multi cam with 4 cameras and my program keeps freezing up.

I think that the only way to stop this from happening is to increase my RAM but I wanted to find out, what is the recommended solution? I'm using Premier Pro CC 2015. on Windows 8.1.

First, that video controller seems to be a board-mounted one ... not "bad" as far as those go, but without it's own supporting cast so to speak. It doesn't seem to have any v-RAM, I'm assuming just uses the RAM of the computer itself. And at 8Gb, that's ... very minimal for the CPU. It's got more guts to the video capability than my laptop does, but not enough to really carry the video weight.
Second, with only your system drive and one USB3.0 external, your drive capabilities are very low. If that external has a faster-than-normal cache-read/write performance, and the only thing on it was your footage (media), at least the media could get read into the process decently though with multi-cam sequences that's a harder workload than single-clip work. With that setup, however you've got your various parts of the process laid out, you simply don't have the capability to pass data back and forth at playback speeds. Not even close.
Even a second internal SSD that you could put project files, cache, database, & previews on would improve your performance. It would still be low, but not as way low. That's one of the frustrating things ... these video programs are huge suckers of computer hardware capability. My laptop runs Lightroom & even Photoshop just fine. It's worse than yours for trying to do video on, however. But ... when I got it, I hadn't yet started down the video processing trail. All of 2-1/2 years ago.
As we can afford it, that will go to my wife ... also a professional portrait photog. I'll get something vastly more potent for the ability to do some video work on it.
Neil

Multi-Cam with (2) XDCAM HD and (1) EX

I am getting an error when I try to set-up my multi-cam. It does not like to mix codecs. What should be my next step?

wooh ....you are talking about a miricle if you want to have that data intact from moving the mobo's, with no backup ...the fisr2 has a promise ide raid on ide3...
that would be your best bet just to try but it will have to already have the promiserealtek fast drivers loaded....satas dont have jumpers as they only allow one drive per cable.
now if you want to install new drives on sata when your loading 1 you will need a cd or dvd for the windows cd..ide 2 ..and a floppy drive for the floppy drivers you need to set up xp if you want the os on the satas..in not load the os on ide and add drivers latter .
you will need to turn on sata in bios and set raid on as well if you use ide 3 etc..
thats just a primer.....

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 ... )

I have Sony camera DSC-HX400V which does not have raw program. Pls explain what can I do with jpeg only

I have Sony camera DSC-HX400V which does not have raw program. Pls explain what can I do with lightroom 5 with jpeg only
Arieh Gertler
[email protected]

You can do just about anything with a JPEG image that you can with a raw image. The advantage of working with raw is that it is possible to work with more extremes in exposure. More highlights and shadows can be recovered in a raw image, but there is a lot that can be done with JPEG images as well. All of the library functions and keywording and all the other features of Lightroom can be used on JPEG images just as easily as they can be used on raw images.
Having said all that, you might be more comfortable using Photoshop Elements. Both programs have trial versions that you can use for 30 days to decide which one or whether both will work for you. It would probably be to your advantage to try them out and decide for yourself.

What is best practice for multi camera edit with differing lengths?

I have three cameras that took video of an engagement party. Camera A and B took it all (with some early extra material exclusive to each camera). Camera C took some, then stopped, then took more.
So I have four sets of clips - A and B which are complete, then C then D.
Should I create sequence 1 with A, B and C synchonised, then create sequence 2 with A, B and D synchronised, then sequence 3 with sundry early non-multi camera clips, plus sequence 1 plus sequence 2 then late non-multi camera clips?
Or can I synchronise A, B and C, then on the same timeline synchronise A, B and D? I'm concerned that the second synchronisation will put C out of sync.
What is the best way to approach this?
Thanks in advance.

A and B which are complete, then C then D.
I think you're looking at this in the wrong way. You have only three cameras, A, B and C, but you don't really have a D camera, as those are just other clips from camera C. You might call them C1 and C2 if you like, but calling them D seems to be confusing the issue, as it's still only three cameras, and three shots to choose from when cutting the sequence. (Except for the gap between C clips, where you will have only the A and B shots to choose.)
You can absolutely sync all the clips form camera C on the same sequence as A and B. And it will probably be easier to do so.

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.

Logging takes in the field for multi-camera set-up with OL

Is there any way to designate separate cameras or link shots (to be labeled as CamA or CamB) to advance takes and make notes simultaneously?
OL doesn't really seem set up to use with documentary style shooting with multiple cameras, but maybe there is some way around this?
I just want to be able to add takes in OL to multiple cameras without a lot of typing between each take...and add notes that are applicable to multiple cameras within one shot and one take.
Any ideas?

OnLocation CS5 has an entirely new feature set known as the File-Based Workflow that may be just what you are looking for. The basic steps are as follows:
PRE-PRODUCTION (IDEALLY)
1) Create a placeholder for one camera angle of a given scene/shot. (Consider using Adobe Story to prepare your script. Then you can hand the script off to OL and have it automatically broken down into scene-level placeholders. You will then still need to break those placeholders down to the shot level)
2) Use the Camera Name property to designate the camera for that shot. If you use the "auto-matching" process, which you will likely want to do if you're entering notes per take, then this data point will be used to automatically mate a set of clips from, say Camera A to the correct set of placeholders.
3) Fill in any other metadata that is common to other camera angles.
4) Duplicate the placeholder for other camera angles & shots of the scene. To do this, you can use either the Duplicate Placeholder command or, to create multiple duplcates, the Break Out Scene command, both of which are available in the context menu when you right-click a row in the shot list. Note that both commands work with multiple rows selected.
5) Customize each duplicate as appropriate.
6) Repeat for your other shots.
DURING THE SHOOT
1) [Strongly recommended] For multi-cam shoots, synchronize the date/time on all the cameras. Ideally, synch them all to the date/time on the computer running OnLocation. This greatly simplifies the auto-matching process by saving you the hassle of repeatedly changing the camera date/time in OnLocation.
2) Select placeholder(s) or clip(s) for the next shot.
3) At any time between starting and stopping recording of the take, click the Timestamp button (upper left corner of the Project/Shot List panel). This step applies a timestamp to the placeholder, which makes it possible for the auto-matching mechanism to determine which clip belongs with which placeholder.
4) Optional: Add temporal comment markers to timestamped placeholders, which will be aligned to the clip when you auto-match. (Note that PPRO does not recognize comment markers added in OnLocation.)
5) Repeat steps 1-3 for subsequent shots
AFTER TRANFERRING CLIPS TO THE COMPUTER
1) In the Media Browser panel, navigate to the folder where you copied the content.
2) Select the clips.
3) Click the Auto-Match button at the top of the panel. This opens the Auto-Match dialog.
4) if this is a multi-camera shoot, check the appropriate box and select the name of the camera that this content came from. The list for the Camera Name setting is populated from what you entered in the Camera Name field for all timestamped placeholders. [Be alert for unintended variants. For example, if you entered "Camera A" for some shots and "Cam A" for others, you'll see both versions in the list. Before proceeding, you should standardize the entries.]
5) Set the Camera Date/Time. If you synched the cameras' date & time to the computer's, then this step is not necessary (unless you previously set a Camera Date/Time offset in OL, in which case you will need to reset the Date/Time to match the computer's.)
6) Click OK to proceed with auto-matching. OnLocation will proceed to find the placeholder whose timestamp fits within the Start and Stop Recording times of one of the clips and, if relevant, whose Camera Name matches your selection. All metadata from that placeholder will be merged into the clip.
[Please note that all of the foregoing is from memory--I don't have OL CS5 installed on this home computer--so I may have gotten the names of some of the controls wrong. I'm pretty confident that the basic workflow is sound, however.]
Here's the help page for this feature. I'm afraid it's does not really cover the particulars for a multi-camera workflow. http://help.adobe.com/en_US/onlocation/cs/using/WS89e4fde9608114f41e5eb2de124b454ea2b-8000 .html
As for entering the same string in the Comment field (or any other metadata property) for multiple placeholders or clips simultaneously, simply select whichever rows in the Shot List that you want to edit, then in the Metadata panel edit whichever properties you choose to. Your changes will be applied to all selected rows (assuming they're editable--i.e., not read-only or offline, both of which apply only to clips, not to placeholders)

Multi Camera Editing with Matrox CODEC ( VS4 ) Card

Hello All.
Setup
I am recording 4 inputs from the Matrox VS4 via Wirecast 4.2 and also tried 5.0
- 1080i @ 100Mbps
- All the video footage play perfectly with no problems what so ever
- I Have installed the Matrox VFW Software Codecs of a system which DOES NOT have the VS4 card
- I can edit 1 video with NO PROBLEM.
Problem
- Using Adobe Premiere 7.1 CC with multi camera editing, the footage is jittery after a few seconds.
- Using Adobe Premiere CS 6.0 with multi camera editing, the footage is jittery after a few seconds.
- I have tried with 2 cameras up to 4 cameras and I get the same problem.#
Other Test
- I have tried 12 x videos which are MP4 in multi camera editing with NO PROBLEMS!!!
- I am using 4 x 128GB SSD in RAID 0 ( 1450 MB/s) - Through put is not an issue.
- I have also reduced the MB/s on the ISO capture of 50MB/s
This is the CODEC you need to have installed on your computer in order to edit the view/edit the videos recorded by the Matrox VS4:
http://www.matrox.com/video/en/support/windows/vfw_software_codecs/downloads/softwares/ver sion1.0/
The Matrox Video for Windows (VFW) software codecs let you render and play back Matrox .avi files in your VFW programs without having Matrox video hardware installed. This version provides codecs that were previously available only on systems that have particular Matrox video hardware, such as Matrox Axio. This includes the Matrox DVCPRO HD codec, and "+ Alpha" versions of the Matrox uncompressed and MPEG-2 I-frame codecs. As well, the Matrox VFW MPEG-2 I-frame HD codec now lets you render and play back Matrox MPEG-2 I-frame .avi files in all HD formats (720p, 1440x1080i/p, and full-size 1080i/p).
The following VFW software codecs are provided for use on 32-bit and 64-bit Windows operating systems:
Matrox DV/DVCAM
Matrox DVCPRO
Matrox DVCPRO50
Matrox DVCPRO HD
Matrox MPEG-2 I-frame in SD and HD resolutions, with or without alpha
Matrox Uncompressed in SD and HD resolutions, with or without alpha
Matrox Offline HD
Matrox M-JPEG and HDV (playback only)
Is this an issue that is present the Premier 7.1 CC or the CODEC or even both?
Thank you all.

Hello,
Please send me an email at;
[email protected]
I'll work with you to address your multicam performance issue with your VS4
Regards
W@

Issues with creating multi camera sequences

I'm using Premiere Pro CC 2014.2 and I’ve just started experimenting with multi camera sequences and have two problems, one I can work around, the other I can’t.
First, if I take a series of video clips, add a marker to each clip to identify the sync point, name the marker, and subsequently create a multi camera source sequence, the option to use the marker as the sync point is disabled. If I leave the markers blank and don’t name them, it works. Is this a bug or intended behaviour of the application?
Second, and more problematic for me; if I create a multi camera source sequence using two or more video clips, all of which have a stereo soundtrack except for one clip, and that single clip has a 5.1 soundtrack, I cannot seem to force the sequence to use the audio from only one of the clips with a stereo soundtrack. Basically I want the audio to always originate from the first clip (camera 1) during the clip selection process. I’ve selected the clips in the right order and ensured all other settings are correct, but the 5.1 clip always take precedence.
If all the video clips contain the same format of audio (in my case all stereo or all 5.1), I can select which clip becomes the default no problem, it’s only when a 5.1 clip is included in the source clips when all the others are stereo. Is there a way to select the 5.1 clip and make it the (camera 1) audio source?
Thanks in advance,
Steve

I'm guessing the marker thing is by design.
For the audio, once the sequence is created, just Mute all the stereo tracks.

Problem with Multi-camera function

Hi!
I have three camera angles - I put them each on different stage but since one guy had a problem and had to stop recording the whole thing got a little messy and I had to divide audio and video tracks to compensate with audio, however two of my tracks are now splitted in two (with blank space inside) and if I use group function - "Set clip marker" is no longer working and I cannot synchronize the video and prepare it for multi-camera editing.
I hope you understand what I mean and thanks in advance for any advise!
Thanks :)

Colin,
I did a multi camera edit of Act 1 of a taped performance and all went well. Moved on to Act 2, which ran longer and each camera needed a tape change. So I matched the clips from each camera on each video track and tried to move on to the sync & then create a multi camera sequence stage of the project. That's when I hit a road block. I could not sync the four video tracks. So I consulted Adobe's on line help and this was all I could find about my predicament:
Note: Adobe Premiere Pro uses an overlay edit when synchronizing clips. Take care not to overwrite adjacent clips if you have multiple clips on the same track.
So what was I to do next? I found your post and now know exactly what to do. Thanks for a great explaination and saving me a lot of head scratching.
Why couldn't Adobe explain it as well?
Thanks,
Angelo

Audio out of sync with multi-cam

Hi *,
I searched the forum with no big success. Many people seem to have the no-audio problem with multicam. My problem is different.
I enabled the multi-cam feature in CS4.1 in the preview (source) monitor. I have 2 video tracks (1 MPG, 1 AVCHD). Both appear and are in sync. Also the audio is in sync as long as the multi-cam feature is turned off. As I turn it on and play the monitor, it's totally out of sync with the video. Totally means, that it's really about 40 minutes away.
Any ideas?
- Stefan

Any ideas?
My only recommendation is to just not use GOP-based media. It's a bad idea at it's core and issues like this are not uncommon.

Multi-cam edit issues with multiple DSLR clips

Hello,
Working in CC. I have 2 camera angles that were filmed with 2 DSLRs, and mic'd audio that was recorded into a Zoom H4N. Audio recording never stopped, but due to the nature of DSLRs, the 2 cameras would stop recording every 12 +/- minutes. In this end, I have:
Camera 1 - 16 clips
Camera 2 - 17 clips
Zoom H4N - 1 track
When using the multi-cam source sequence option, it understandably thinks each clip is a new camera/angle. However, that's not very helpful for me when I have 17 angles (15 of which are blank) showing up in the program monitor. Any suggestions on how to better tackle this dilemma?
Thank You.

Thanks, Mark. Appreciate the quick response. After messing around, I combined your method with PluralEyes (seemed less tedious that syncing 17 clips manually). There might be a faster/easier way, but this is what I did, in case any one is curious (sounds more tedious than it actual is):
1. Select cam 1 clip 1, cam 2 clip 1 and external audio in the Browser.
2. Left-click, "create Multi-Camera Source Sequence." Two angles and audio are now in a multi-cam sequence. Rename as Multicam_Source_Sequence
3. Create new sequence, called Sequence_01 and open in timeline.
3. Excluding cam 1 clip 1 and cam 2 clip 1, drag all remaining clips of cam 1 to V1, all remaining cam 2 clips to V2, and single external audio to A3 into Sequence_01 timeline.
4. Launch Sequence_01 into PluralEyes 3. Sync and Export.
5. Open PluralEyes' "Sequence_01_synced" (not "Sequence_01_synced Replaced") in timeline.
6. Find a good marker point toward the beginning of the audio where it has synced cam 1 clip 2 and cam 2 clip 2. Cut at that point.
7. Copy all video tracks (exclude audio tracks).
8. Find Multicam_Source_Sequence and open in timeline (un-nested, so that all tracks are revealed).
9. Manually find the same audio marker point where you cut in Sequence_01_synced. Place playhead directly at cut point.
10. Paste video clips. All tracks are now synced in a multi-cam sequence.
From here, it's the usual steps for preparing multi-cam editing, like you mentioned.
11. Create new sequence, called Multicam_Working_Sequence. Open in timeline.
12. Make sure nesting button is turned on in timeline.
13. Drag Multicam_Source_Sequence into Multicam_Working_Sequence.
14. Right-click the nested sequence>Multi-Camera>Enable.
15. Enable Multi-camera view in Program Monitor's panel menu.
Voila! Took me awhile, but this works.And no 17 angles popping up in the program monitor. Let me know if you'd add (or remove) anything. Thanks, again!

Multi-camera audio with multiple tracks

In Premier Pro 2 I was somehow able to use the automation features to adjust levels throughout my videos on multiple tracks, and that mix would flow through to the multi-camera sequence.
It didn't work in Premier Pro 3.1.1 when I just tried it. I then noticed that the help file says "In order to retain audio from more than one track simultaneously, mix all the desired tracks to a single track in the source sequence, select the resulting audio track, and deselect the Audio Follows Video option."
I opened my old projects in 3.1.1 and the multiple tracks still play in the multi-camera sequence.
1: How was I able to do this before and can I still do it?
2: If I must mix all tracks to a single track in the source sequence, how do I do that? I can't figure that out.

You have two choices, either you can hear the audio for the selected camera, or just audio track 1. You can't hear all audio tracks simultaneously without a little tweaking.
Once you're done with the multicam cut, place another instance in the new sequence on tracks 2. Then delete the video from track 2, and move the audio from track 2 onto track 1. This will allow all audio tracks from the original sequence to be heard.

Rapid Tapeless Multi-camera workflow with OnLocation

I am wondering whether anyone is using OnLocation for rapid (read almost instant) tapeless workflow.
What I would like to do is:
1 - Use 4 Sony V1U HDV cameras and ISO record all of them as HDV files.
2 - Record the ISO on four separate laptops running OnLocation via a Firewire feed from each camera.
3 - Store the clips (as they are being recorded) onto four external eSATA drives (one for each camera/laptop combo)
4 - After 90 minute recording is complete, move the four external eSATA drives to a central workstation running CS4 and equipped with 4 eSATA ports.
5 - Then WITHOUT copying the files from the external drives, immediately start editing a multi-cam session.
Can I do this?
Are there any "gotcha's?"
What kind of of pre-processing of the clips is necessary if any? (audio or video "conforming"?)
Does timecode stay with the files?
How long after I mount the drives might I be ready to start editing? 1 minute? 5 minutes 1 hour or more?
I need to do a FAST turnaround, but cannot do a live switch.......
Thanks!
Mike Fayette

That actually sounds pretty cool. The only question I'd maybe ask is what is cheaper: 4 laptops with onlocation, or 4 solid state recording devices for your cameras (like Convergent's little one which records from the HD-SDI port of the camera)?
If you need the functionality of OL, like scopes and what not, then sure it sounds like it's the way to go. Just sayin there may be alternatives?
http://www.convergent-design.com/CD_Products_nanoFlash.htm
But I saw a handful of others along this line at NAB last year.
MP

Multi Camera with DSC-HX400V?

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