I've been working with multi-cam PP for a while now and I was just wondering about the workflow that others have adopted. Here is my approach. I'll use the ceremony for an example.

1. I first create a sequence named Ceremony Sync and sync up all of my cameras with their associated audio clips along with any external audio files to the timeline (i.e. iRiver, H2, R-4 etc...)

2. Once I have the entire sequence in sync, I'll then select all of the clips from point "A" to point "Z" that I want to use in my multi-cam sequence/edit. I'll copy those clips to a new sequence named "Ceremony Multi-Cam Sync"

3. I'll then create a 3rd sequence named "Ceremony Multi-Cam Edit" and import my "Multi-Cam Sequence" into this 3rd sequence. I'll then do my multi-cam edit. Once complete, I'll delete all of the audio in track 1 and copy and paste all of my original audio clips from my "Ceremony Sync" sequence and then start fine tuning the edit.
_____________________________
Ron Priest - Louisville KY
Website | Blog | Facebook | Twitter | Vimeo

I guess I don't understant step 2 where you're copying everything to another sequence. Arent all the clips you intend to use already there without needing another sequence?

And I guess I have a step zero that comes before your step 1. I put each individual camera in its own sequence. It makes it much easier to apply color correction to these and prerendering is much faster because there's nothing else there.

- RT

Hi Ron

Rightly or wrongly, I start a whole new project, which I call "Service", "Speeches", or whatever is applicable.

I import the clips and get them into sync. I then start a new sequence (2). I drag Sequence 1 into Sequence 2, then activate the monitor. I work my way through Multicam applying transitions, colour corrections, etc as I go along.

I then export the result as a movie and import into the main project, where I apply the iRiver sound where applicable.

Cheers

.
Howard

mfNeillO2
Cape Town, South Africa - "Where two oceans meet"

In Reply To

Step 2 insures I maintain a source sequence which I can refer back to where everything is (or was) still in sync. Actually, there are some clips (or parts of some clips I should say) that I don't want as part of my multicam sequence. For example. To keep it simple, lets just say I have a ceremony with 2 cams. Cam started recording 5 minutes before cam 2 did, and cam 2 continued shooting for 5 minutes after cam 1 shut off. So, I don't need the first 5 minutes of the synched sequence to be part of the multi-cam sequence... there is no point (it's just once cam) likewise, I don't need the last 5 minutes of the synched sequence to be part of my multi-cam sequence (agan, no point it just one cam). So, what I'll do is splice the beggining of cam 1 clip at the start point of cam 2, and splice the end of cam 2 clip where cam 1 stops. Then I'll copy the sections of the sequence that are (shall we say, in common, or overlap) into a new sequence nameed Multi-Cam Edit. By leaving the original sequence intact, I can always come back to that sequence and see what parts I need to assemble before the start and after the end of the multi-cam sequence. I also use this original sync sequence as a source for all of my other audio tracks since multi cam will only allow you to use 1 track of audio when you import it into a "multi-cam" activated sequence. (Does that make sense?)

In Reply To

Good point. However, I as well can easily go back to my original "Ceremony Sync" sequence where I have each camera in it's own video track and add a color correction filter (or whatever) to that undisturbed video track (which is still 1 long clip assuming you didn't stop and start the camera once you started recording) and because this sequence is the source file for your multi-cam sequence, it will automatically change the properties of that clip throughout the length of the multi-cam sequence. If you don't want your entire clip to be affected, splice the clip in your original synced clip and add the filter to that part of the clip that you want to be effected, and the change will automatically occur in your multi-cam sequence, and you won't even have to re-render (well I don't have to re-render using a Matrox real time filter anyway ... black and white for example). Does that answer your question?
_____________________________
Ron Priest - Louisville KY
Website | Blog | Facebook | Twitter | Vimeo

In Reply To

Woops, I forgot to add my comments. So... what the benifit of creating a whole new project, versus simply creating a seperate sequence?
_____________________________
Ron Priest - Louisville KY
Website | Blog | Facebook | Twitter | Vimeo

In Reply To

Hi Ron

Call me stupid, but I like to impose as little strain on my system as I can. I feel that by avoiding additional sequences in the main project, I am making less demands on my machine.

That's how I have done it for 18 months and it works for me.

Cheers


.
Howard

mfNeillO2
Cape Town, South Africa - "Where two oceans meet"

In Reply To

Hey for sure, what ever works for you, I'm sure not criticizing the way you do it, just trying to learn different ways I might do it.

I'll tell you one of the best moves I'm made lately for my Matrox x.100 system was to upgrade my RAM from 2GB to 4GB (the highest I can go). That has really seemed to make my system much more stable, especially when I have Ppro running along side of Encore and Photo Shop. I also recently installed the last hard drive possible (my 7th) along with a larger power supply and things are really operating nicely.
_____________________________
Ron Priest - Louisville KY
Website | Blog | Facebook | Twitter | Vimeo

Hey for sure, what ever works for you, I'm sure not criticizing the way you do it, just trying to learn different ways I might do it

---

I can vouch for Howard's "new project" vs. just another sequence method too. There for awhile I had stability problems with PPro 2.0. Never did figure out why Premiere would crap out on me so I just had multiple project files for each wedding. Last 2 weddings on CS3 have worked fine though. No matrox card. 4gb Ram.

Plus (and this still exists in PPro 3), single projects take so damn long to load for me... 2 - 4 minutes.

As far as the multicam function... it's ok and there are different ways to do it but with Premiere, it still seems like we are jumping through a lot of hoops at times. The multicam monitor is fickle depending on the day of week it seems. And it took me a while to figure the multicam out - not a very intuitive feature if you ask me. I hear it's got some better features than FCP though.

Encore was a steep learning curve for me until I downloaded some video tutorial that explained everything in about 3 minutes.

- RT

In Reply To

I was have a hard time to with PPro CS2 there for a while. I think my hard drive was just too full, and when I would go to create a multi-cam sequence and it had to render first, I think the files were just getting too fragmented. So, I'm carefull now to try not to get a drive more than abut 75-80% full. That's kind of hard to do when you consider 2 of my drives are only 250 GB.

I didn't have too much difficulty learning Encore, but then I bought the Adobe Encore Classroom in a book, and thaught myself right off the bat. I have had some probelsm with Encore CS2 and the chapter playlists though. Seems that you can't have any more than 19 chapter playlists within any single timeline of the DVD player (or computer) will lock up on ya when attempting to use the remote menu button. I also learned that if your using chapter playlists as your link to a menu, the menu will not use the poster frame for it's icon, but will use the first frame in that chapter. Just a coupld tid-bits there if you ever run across those problems.
_____________________________
Ron Priest - Louisville KY
Website | Blog | Facebook | Twitter | Vimeo