Clips are linked to material not being part of the original sequence etc. Give this a shot and see how much this can speed up your workflow.I am trying to roundtrip a Project from Premiere CC to Resolve (10.1.5) but no matter on how i do it, either Premiere exports Bulls***t in the first place to the XML or Resolve does a really horrible job interpreting the FCP XML Exported from Premiere. I usually say there isn’t a wrong way to do anything in post, but if you are editing multi-cam footage and not using the multi-cam editing tools then you’re doing it wrong. Even cooler, when you want to switch camera angles on an edit all you have to do is highlight the clip and click to make your shot choice. You won’t see the cut happening in real-time until you stop the playhead, and minor adjustments and corrections can be made using the rolling edit and trim tools on the timeline. Bring your playhead to the start of the sequence, play, and select your angles in real time by either clicking on the angle in the source monitor, or pressing the angle number on the keypad. You’ll see all of your camera angle options in the source monitor in a grid. To enable multi-camera editing, click the Multi-Camera view option in Premiere which can be added to your toolbar by clicking the + sign under your program window. This will create a multi-cam sequence and a processed clips folder.Īssuming all things went smoothly with syncing, you’ll now create a new sequence or add this multi-cam sequence to your editing timeline sequence which is as simple as dragging and dropping the ‘clip’ onto or into your timeline window.Īll of the synchronized footage will be presented to you as one single video clip on your timeline – pretty cool, eh? Choose either your main audio, to mix all audio, or switch the audio source with the active camera selection.Use this only if all of your clips contain reference/scratch audio that is easily identifiable.This is scan the audio that is embedded with your footage to determine the sync point.If you labelled your clips with the same marker.This is my preferred option but it requires you to use cameras that can jam sync to a common TC source in the field.Exactly like In-Points, but sometimes its best to tale-slate.If you clapped or slated, you must previously have set an In-Point on your clips for this to work.
Inside the pop-up box you are presented with 5 options for synchronizing your clips.
Sort All Of Your Camera Angles Into a Bin For That Event/Scene.Through multicam editing, you can review all of that material at the same time, edit on the fly, and maybe even end up with an extra few hours to go outside and have a normal life. Syncing and aligning all of that footage on a timeline and cutting between V1-V10 is actually a lot more work than it seems and it makes things even more complicated when changes need to be made.
Whether it’s just a 2 camera interview, a 4 camera live event, or even a 10 camera reality TV series, somebody has to watch all of that footage and quickly decide what stays and what goes. And although it’s great to have options, having to sift through potentially hundreds of hours of footage really puts a damper on the evening plans of your editor.
If it wouldn’t completely blow the budget, I suspect most producers would probably add hundreds of cameras to every shoot – thinking the more the merrier. Let’s take a look at this great tutorial from Mark Holtze to see how it’s done. With just a little bit of prep time at the start, you can sync the video footage and audio from every camera that was rolling – allowing you to easily review, locate, and adjust shots in a flash. I’ve seen so many timelines where new editors were cutting multicam footage across multiple video tracks rather than creating a single multicam clip, and it has always left me a little perplexed.
Every professional editing application has some implementation of multicam editing and Adobe Premiere Pro’s is probably the best.
Using and understanding the multicam editing features in any non-linear editing software can save you incalculable amounts of time in the edit room.