PE3 is possible to synchronize two sources video post edit AB Roll?

In PE3, is it possible to synchronize two digital video files (AVI) to create an AB roller type post edit.  My two captured video files seem to have different speeds or od frame.  How do I align and frame corresponds to 2 video sources?  The situation is a 2 photo shoot.  How to best create a roll of AB edict of sources 2 videos with audio of a video file as a common element?

Wes,

Armed with Steve's article, you should be able to do what you want.

I have a question and maybe a suggestion to fix the problem of pace from the start, to help solve this problem without a lot of fiddeling. What are the two frame rates? G-Spot will tell you exactly, if you can't find it in the properties. If the source files are DV - AVI, they must be of the exact same rate initially, but if you're a little off, I would like to convert it the DVD specifications do not support a correspondent. First place I would try this would be to simply interpret footage in the project Panel. If this does not work, then Windows Movie Maker can do for you, or you can use other conversion tools to match. I use DigitalMedia converter, but it's not freeware. Get the two sources in perfect sync at the beginning will go very far to the success.

Good luck

Hunt

[Warning] I don't have PE3, PE4 only, but I think that applies to your version.

[Edit] After reading the article by Steve, the only thing I would do (after the sync property) to help me in the multi-cam editing would be to set the video track display to show all the "frames" and the expansion of the height of each video track two (VT), so that they occupy the largest part of the vertical real estate in the timeline. Then, I would zoom in on the horizontal of the timeline display, so that I could see quite clearly, each image. Basically, this makes the timeline as a line of detailed scene, but you can stay in Timeline Mode. Because you do not have Mode multicamera PrPro, you won't get anything your video footage track higher in the program monitor. You will be viewing the images on the Timeline. This will require a lot of horizontal scrolling on the Timeline, but it is doable. Then, when you want to use the images of VT1, you will cut (scissors tool) VT2 overlay images. Personally, I work out my main sequence (such as the master in the article Steve Audio track) on VT1 and images from my camera "cutaway" on the VT2 console. Like prescedence VT1, VT2 you can leave VT1 footage almost alone and just cut the images on VT2. I would use the Cross-dissolves on the head and the tail of the "Cup" Clips to VT2. Remember that if you use these, you want to make sure that the cutting came where you want the scene on VT2 absolutely start or end. The duration of the cross-dissolves will determine when the stage becomes either visible at 100% (head), 100% invisible (tail). Also, don't forget that Dip - to-black on VT2 takes the image on VT1 to black, where my use of Cross-dissolves.

Using this method, can also do some repositioning of the (cut from the original) Clips to VT2, to offset any loss of synchronization. But you can possibly use it to set the framerate differences, I'll try again to get the images as accurate, as it is possible to start - a lot less work in this way. Also, once the 'holes' were cut into the images on VT2, you can start using the program monitor much more.

As Steve points out, PrPro facilitates locking securities and a double multiple camera monitor, multicamera mode.

This is exactly how we did with film, except that we had to splice in black leader, where cuts were made and could not hold our intact VT1 sequences, we can with an NLE and video. Because we were dealing with sprocket holes, we had doped (sprocket) gears on a 'sync' block, and once we'd get right alignment, would physically renversible by a guide, who would 'lock' the film to these two rolls of film for the sync block. Although it may seem difficult, when you read it, it's really not and so very easy, as it was with the film.

Tags: Premiere

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