Multicam editing and live art

I've been doing a little bit multicam editing with FCPX now and when using multiple cameras on a single occasion everything goes nice and smooth. But now I have a different kind of situation that I need some good ideas with. I have been shooting a live art performance with a single camera in multiple occasions and I want to cut them as a one multiangled video. The thing is, the show is never quite the same. There is (pre-recorded) music and dance that always goes the same, but there is speech and other not beat-by-beat stuff in between. Syncing is a nightmare since the whole thing is unsyncable.
I am now open for all kinds of ideas, so keep them coming. Should I edit every music/dance-piece by themselves as a multicam clip, export, import and put together in a new project? The speech parts might be undoable with multicam tool, but that won't need lots of cuts anyway. I've been trying a bit of this and that, but have no idea what would be most convenient way to do this. I think some kind of splitting into scenes kind of thing needs to be done anyway for my media.

If I understand correctly, you want to make a movie out of multiple takes of more or less the same performance and I'm not sure how Multicam doesn't create more issues than it solves. The idea of multicam is to display different angles of a single take – usually with a common audio source. So unless I'm overlooking something (which wouldn't surprise me in the slightest) introducing multicam into the workflow would make your task more difficult.
One approach would be to lay out the parts (clips) of the performance you feel best tell the story on the primary storyline. Then use secondary storylines from the best takes to add interest as cutaways. Alternatively, if you wanted single source sound, you could experiment with a music bed as your primary stroyline, but then I think you would constantlly be wrestling with sync.
Best of luck on your project.
Russ

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Thanks.

I didn't feel like going through the manual either on this one --- here's what I do, which is by no means the easiest automatic thing.
After I drag my multiclip to the timeline, I grab the track I want audio from and place it with the multiclip. A couple locks & unlocks, a couple of deletes, and I've got the multiclip video with the audio from the track I want audio from.
It's not the automatic thing, but I generally am working with 2+ hour long multiclips, and only have to go through this once per project.

Multicam editing and expanded audio components

Hi. I will try to describe the issue I am having:
1. I am editing a multicam clip and have expanded the audio components
2. I make a video only switch to another angle (from angle A to angle B)
3. I decide I want to move my video edit point slightly so I use the trim tool ('T') to move the video edit to the left or right
4. The audio edit point does not move with the video edit point while the audio components are expanded, leaving the edit point for the video offset from the edit point for the audio.
Is there a way I can slide the edit point for video and audio together OR do I need to collapse the audio components before I do this?
Thanks

Depending on how often you want to do this, it might get tedious, but:
Hold down the Alt key and click on the audio portion you want to change; this will select just the audio clip. Right-click on it, go to Multi-Camera, and then select the camera you want to use for audio. The video will stay whatever you had originally edited into place, but the audio will be pulled from the other camera.
If you want to use audio from a specific camera for the whole edit, there is an option in the multicam monitor flyout menu called "Audio Follows Video." If you uncheck that, you can pick what audio track you want to use at the bottom of the MC monitor. Premiere will add edits, but the audio will always be from the camera you specified. I'm not sure which option you're really after, but hopefully that helps.

Multicam Editing and Audio

Hello Forum,
does anyone know if there a way to select a different audio track separately from the video track when editing in the multicam mode?
For example, if there a way for an editor to have a video from Camera 1 and Sound from Camera 2?
Would appreciate a direct technique or a workaround suggestion.
Best,
Dimitri Vorontzov

Depending on how often you want to do this, it might get tedious, but:
Hold down the Alt key and click on the audio portion you want to change; this will select just the audio clip. Right-click on it, go to Multi-Camera, and then select the camera you want to use for audio. The video will stay whatever you had originally edited into place, but the audio will be pulled from the other camera.
If you want to use audio from a specific camera for the whole edit, there is an option in the multicam monitor flyout menu called "Audio Follows Video." If you uncheck that, you can pick what audio track you want to use at the bottom of the MC monitor. Premiere will add edits, but the audio will always be from the camera you specified. I'm not sure which option you're really after, but hopefully that helps.

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I recently learned how to use multicam editing and I think it is such a fantastic tool. One of the things that I struggled with, however, is the ability to extend/shorten one of the clips because the footage was too shaky during the transition to another clip.
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It appears to me that this is just a glitch in the display in the angle viewer, and it does not affect the output. If so, while mildly annoying, it is not a showstopper.
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Hello all,
I have a situation that's probably not in the realm of the ordinary, but I'd appreciate any suggestions. Due to client request, I have several multi-cam shoots to edit that need to be delivered in 1.85. To avoid any framing problems, I'd like to edit with 1.85 letterboxing in place. Originally I just dropped a template in a new video layer over my sequence, but that doesn't stick when editing in multi-cam mode. I've now moved on to applying a 4 point matte to the original clips, which thanks to Premiere CC, does stick in multi-cam editing; the drawback with this is that I lose the letterboxing for any clips that need to be scaled.
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Thanks for your help Mark. The first solution wouldn't work because I'm trying to maintain 1.85 in the midst of multicam editing - and for whatever reason, in multi-cam view Premiere doesn't display a letterbox layer once you make your first cut.
The second solution looks more promising. However, is there a way to make that change within an existing sequence and have the contents update accordingly? I was able to change my current sequence's resolution, but I needed to adjust the clip's scale (just moving it away from 100 and then back again) for the change to update in the program monitor.
(A separate but somewhat related question: is it ever problematic to change sequence settings midway through editing? I know some people in the past have been unable to change resolution, but it seems as if I'm able to change resolution, editing mode, and other parameters freely...)

Multicamera edit problem in Premiere Pro CC

I have a multicamera edit project, the source and target timelines are set up as required. I've performed the multicamera edit and saved the file. When I open the saved file, only one track in the source file shows up in the target sequence. All tracks in the source sequence are visible, the file was saved exactly as it was when the multicamera edit was performed. It looks like a bug to me.
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Thin white line between line art and live paint fill?

I am using live paint to paint cartoon character illustrations. The artwork is brought into Illustrator CS3 and live traced. Then I convert it to a live paint group and use the paint bucket to fill. Everything looks fine no matter how much I zoom in. If I bring the AI file into Photoshop CS6 I can see a thin white line between the black line art and the fill. This is most noticeable where black meets black. I can also see this sometimes in file previews while browsing through files. If the white line cannot be seen in Illustrator is the file ok? I did just upgrade to CS6 if that would make a difference.
Thank you for any help.

If the white line cannot be seen in Illustrator is the file ok?
Without knowing specifics,nobody knows.
"Okay" for what?
If it looks okay to you in Illustrator, then it's okay for viewing in Illustrator.
If the export of it does not look okay in Photoshop at 1:1 or higher zoom, then it's probably not okay for whatever you're going to do with that raster image.
If it's printed to a low-res composite printer, then it may be okay, because the printer may not be able to resolve the whitish pixels.
If it's printed for commercial (color-separated) reproduction, it may not be okay, depending on the scale at which it will be printed, and on other considerations partially described below.
The autotrace routine does not build traps. Typically, when you color-fill cartoon line art manually, you don't make the shapes that define the fills merely "kiss" the black line work, as would the default treatments of a stupid autotrace. The black line work typically overprints the fills, thereby creating printing traps.
Suppose a portion of your cartoon is a hand-drawn closed circle. The black line work is irregular; it varies in width, having been drawn with a marker or a brush. The circle is colored in with a medium green. There are no sloppy gaps in the original between the green and the black.
You scan it and autotrace it. Unless you apply some deliberate care to make it do otherwise, the autotrace is going to create a compound path, filled with black, and with no stroke; and a green simple path which (hopefully) exactly "kisses" (abuts) the black path. Adobe's on-screen antialiasing of the edge where the two colors abut may or may not cause your monitor to display a faint whitish or grayish sliver between the two colors.
Similarly, Photoshop's rasterization of it, or the rasterization of a raster export filter may do the same, and may actually result in some off-color pixels along the edge. (Your description of the scenario kinda raises the question of why you are auto-tracing something that you're then just going to rasterize in Photoshop anyway. Why do that? Why not just work with the scan in Photoshop?.)
So let's leave Photoshop out of the picture and assume you are autotracing it because you want vector artwork. You zoom way in to see if the whitish sliver enlarges. It doesn't, so you assume it's just an aberation of Illustrator's on-screen antialising. And then someone tells you you're in the clear. But are you? Not so fast.
Let's assume the artwork is destined for commercial (color-separated) printing. Further assume the color of the autotraced black is 100% K, and the color of the autotraced green is 100Y 50C. Three inks involved. None of those three inks are shared between the two objects. So even if the paths do, in fact, perfectly abut, there is no "wiggle room" built in for the minor alignment shifts that almost aways do occur on press.
Bottom line: Even if you do determine that the common antialiasing aberations that frequently occur on-screen in Adobe apps is just that—just an onscreen aberation, that does not necessarily mean your file is suitable for commercial color-separated reproduction.
First, you need to understand that autotracing is not the one-click, instant "conversion" of a raster image to vector artwork that far too many think it to be. Just like everything else, you don't just launch a program like Illustrator, start autotracing things willy-nilly without understanding what's really going on. Just like anyting else, you can use an autotrace feature intelligently or...well...not.
You have options. Illustrator provides an auto-trapping feature. Read up on it in the documentation so you understand what it's all about. Alternatively, you can expand the results of your autotrace, select all the black linework and apply a composite color that includes 100% K and reasonable percentages of C, M, and Y (a so-called "rich black"). Or,depending on the artwork and the desired results, you may consider doing the autotrace as centerlines so you have stroked paths, not just filled paths for the linework. That way, using the flood fill (so called LivePaint) will cause the auto-created fill objects to extend to the paths, not just to the edges of their strokes. Then set the linework to overprint.
At any rate, if you are doing this professionally, you need to read up on the principles and practices of trapping and color separation.
JET

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Multicam edit with camera that starts and stops

I am editing a multicam shoot and want to create a multicam clip with my two cameras. Camera A never stopped running, but Camera B stop several times. The time code was synced on Free-Run so there is no issues with syncing, but I want all camera B's footage to be on the same video track. Right now when i select all the clips FCP creates a multicam clip with several video tracks (for every new clip). Is there a way i could have it place every clip from camera B into one track so i can edit using camera 1, camera 2, as opposed to going up to camera 50?

It's an option,
No, it's an elegant and practical solution to the production problem caused by your shooter. Free running timecode will drift (rather hopelessly) so you're not really gaining anything tanglible. You still have to sync the clips visually, you won't be able to depend on t/c except as a guide. Which is convenient but not solid.
im working with DVCproHD and a very big project so i don't want to take up more HD space.
You want to get the project done? Go buy another drive for $200.
Also, everything is logged beautifully
Logging incorrectly-acquired footage doesn't amount to much, but, if you need to recapture, you're in luck. If you consolidate the footage into a single clip as suggested, recapturing is simply a question of replacing footage into the master clip and exporting it again.
I've also heard about using camera angles. does anyone know if this would be an option for this?
You only have two cameras and two angles. What have you heard about angles that would suggest them as a solution? Maybe if we understood how you have misunderstood angles, we could help you clear that up.
bogiesan

Multicam editing without timecode and audio?

Hello!
I am editing a multi-cam interview with the unfortunate issue of 1. having no audio recorded from the secondary camera, and 2. the camera operators did not sync timecode or set the right time/date (DSLRs) and appear to have started/stopped rolling at different times, breaking up the interview into short clips...so I've been trying to figure out, what is the best way to go about this?? Is it possible to use the multi-cam edit without audio, and if so how do I get around it being broken into small clips that don't quite match?
Any help would be much appreciated!
-caleb

Hi caleb116,
Welcome to the Support Communities!
The multicam editing feature in FCPX will help you work around these obstacles. The link below explains the multicam editing workflow:
Final Cut Pro X Help: Multicam editing workflow
http://help.apple.com/finalcutpro/mac/10.1/#ver10e087fd
Having the date, time and time zone set on your recording devices before the shoot is helpful for FCPX to create multicam clips automatically. Normally, you can sync automatically using the audio in your clips. However, since you don’t have that option in this case, you can just sync from the start of each clip and then enter the multicam editor and manually line up the angles.
Final Cut Pro X Help: Assign camera names and multicam angles
http://help.apple.com/finalcutpro/mac/10.1/#ver26f5c183
Final Cut Pro X Help: Create multicam clips in the Browser
http://help.apple.com/finalcutpro/mac/10.1/#ver23c764f1
Final Cut Pro X Help: Sync and adjust angles and clips in the Angle Editor
http://help.apple.com/finalcutpro/mac/10.1/#ver23c76b1a
In addition to the Final Cut Pro X Help manual, there are additional resources, including web based tutorials, to explore multicam editing. Check them out here:
Apple - Final Cut Pro X - Resources
http://www.apple.com/final-cut-pro/resources/
I hope this information helps ....
Have a great day!
- Judy

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I'm trying to figure out what's the best way to use the Multi-cam editing function of CS6 PP, while applying a key to the primary video track.
The workflow I have is V1 contains the background that I want to key into V2. I applied UltraKey to V2, did the key (works great), and now I want to use the multicam editing to cut between the finished keyed V2 track, and video on V3. The way I've always used the Multicam editing in the past is to select the video clips from the clip browser (not the timeline) to create a multicam source sequence - but if I have to apply a key first, I can't do that. I thought of nesting V1 and V2 together after the key is applied, but then I can't make adjustments to the key after the final composite is made (or can I?)
Any thoughts about what works best in this scenario? appreciate the help.

I don't think my system could support live keying. I'd prefer to apply the key first but this is where I had a problem. Let's assume for a minute that there's no key. In a typical MCS workflow, I'd just select the clips from the browser, create the MCS, do the live cuts and be done with it. If I can still do that it's fine, but would that screw everything up in the MCS if I move all the video up one track because the background for the key has to be in front of the video that it's being applied to? I hope I'm making sense here.

Two camera multicamera editing

To old pros, this may be old hat - if so my apologies for posting - but to me it is a revolution - and of possible help to some.
To foresee unwanted panning or zooming (to create a new shot) use this method (assuming you have already syncronized video and audio on tracks 1 and 2): 1) select all - both video and audio tracks, 2) move everything two and a half secs. down the timelines, 3) lock audio tracks, 4) copy all, 5) lock both video tracks, 6) paste at 00:00:00:00. You should now have four video tracks. When this sequence is dragged into a new multi editing sequence and enabled in the normal way, the video in the top two windows will play 2-2.5 secs. ahead of real time thus giving you amble time to select the alternative window. Has saved me hours and hours not having to go back to reselect. I call it multicam editing the Danish way - with a smile.
Sigurd

Wow, that was confusing watching those videos. There's a couple ways to quickly set up and run a multicam switch in PPro CC 2014 but here's how I do it:
1) Sync up your clips. Align them how you want either using plural eyes or just do your own visual/audio sync (premiere has it's own audio sync which you can google how it works but I've found it not 100% accurate)
2) Hold down ALT and select only the video clips you want to cut between.
3) Right click on those highlighted clips and select NEST
4) That creates one nested clip on video track 1. (Because of the way I do this it still leaves the audio visible from all the cameras/sources below so they can be accessed right on that timeline.) Now right-click on that nested video track and select MULTICAM>Enable.
5) Now go to the PROGRAM window/panel and hit the + button on the bottom right. You'll see one icon that looks like windows, drag that out to the project panel so it stays visible always.
6) Click on that little window icon (if you hover over it, it should say multicam window or something like that). Now you'll see all the cameras at once and also another window that shows what camera is "live". It's ALL in the Program window now ever since the last few versions of Premiere.
7) Basically just hit play and start clicking on those little camera windows in that program monitor/panel as the video plays and it will record all your cuts. When you hit stop or pause, you'll then see all those cuts populate your video track. Done super easy.
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Hope that helps! Enjoy!

Has Multicam edit changed in CS6?

For a number of years now I've successfully edited theatre shows using multicam. I don't edit in real time, live, I don't use the "record" feature; I move through slowly and methodically, clicking on whichever camera I want in the multicam view, and these choices are then reflected as cuts in the timeline.
I've just started my first project in CS6 and am shocked to discover that appears to be no longer the case. It seems that I now can only edit in real time, using "record" and clicking "live". I'm keeping my fingers tightly crossed that I've simply got the wrong setting somewhere. Can anyone please advise? I'd be most grateful.

Adobe, please take note of how FCPX does multicam editing, for example: http://www.youtube.com/watch?v=kmFmyXWaQHM.
auto syncing using audio (i.e. free integrated Plural Eyes software functionality)
Timeline and Program Monitor integration (i.e. pressing play in the Timeline/Program Monitor also plays video angles in the Multicam window and vice versa, not either or as is currently the case in CS6)
ability to display just 2 camera angles intelligently (i.e. just one above the other instead of side by side above 2 empty black camera angles)
etc.
Please add this to PP!
Thank you!

Multicam editing and live art

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