Problem creating Multi Cam

Similar Questions

• problem with multi-cam and camera angles

  Hello

  I used 3 cameras for a project with free run time code,

  I imported the files of each camera, and I have them renamed with a suffix like cam1 and cam2 cam3

  in first pro, I put a different color of the label of each camera to have an own chronology

  and when I create a multi-cam with time code sequence, I have thousands of tracks (his pro as Prime Minister understand that each item I have a different cam)

  I tried a lot of things, but I can't find a way to group each cam on a track :/

  someone has an idea for me please?

  Thank you

  Premiere Pro treats each element as from a separate camera.  No way around that.

  When you photograph of muticam, do not start and stop the cameras.  Leave them running for the complete event.  Floors and ceilings are better than trying to synchronize dozens of clips.

• How to activate the option 'create the source multi-cam sequence?

  I am trying to create a sequence multi-cam in an interview. I have an audio file (.wav) and two different camera angles (.mov). I point out all three and make a right click, but the option 'Create Source multi-Cam sequences' is disabled. I tried to switch to the Clip in the menu as well. No luck. How to activate it so I can create a multi-cam sequence?

  If you are in the first version of CS6, disable audio and synchronize your video with in or out points, cue or clip. I assume that you are earlier version CC as I believe audio disable "create the multicam source sequence. CC versions and beyond have the ability to sync with audio, so not sure as to why your option is grayed out.

• How to create a multi camera raw cut with Prelude?

  I am new to CC and first ever used or before prelude.

  What is the best way to create a camera rough multi cut on Prelude?

  I started to create a rough cut of the camera 1 and for a while, I needed a different angle of each camera, 2, 3, or 4. To do this, what I ingest camera 2, 3 and 4 AND pick up this angle that I need OR is there a way I can have all 4 cameras synchronized to Prelude and easily move from an angle on the corner and cut into those I want? If so, how to do that?

  I have 7 hours of video on 4 different cameras and wonder if I should jump the prelude all together and start editing directly on the first Pro CC.

  Thank you

  m

  Hey M,

  .. .am I was wondering if I should jump the prelude all together and start editing directly on the first Pro CC.

  In this case, Yes, you'll want to head straight to the Premiere Pro.

  Thank you

  Kevin

• Problem of sequence Source multi camera PLEASE HELP!

  I merged the 3 cameras with sound using the sequence of Source create multiple cameras.  After that I merged it, I don't know why I can not select the "Multi-camera" button (which is gray) so I can choose the shot I want to use. Help, please!

  You can see a good tutorial on the entire process here - http://tv.adobe.com/watch/learn-premiere-pro-cc/multicamera-workflows-with-premiere-pro/

  The help page also step by step - using Adobe Premiere Pro | Multi-cam editing workflow.  I meant step 4. Create a target multiple camera sequence.

• dynamic links, body cs5-> AE cs5, multi-cam sequence problem

  It's strange. I'm working on an interview with two camera in Production Premium CS5. Does the standard stuff - a sequence source with both cameras, have some sex change here (synchronization of the two cameras, trim clips, etc.). Then nested in the source sequence in a multi-cam edit sequence. The multi-cam monitor allows to switch between cameras, etc.. Everything is good.

  But my publisher wants to make three separate videos of this interview. So the logical thing (so I thought in any case) would be of this nest muiti-cam change when in three distinct target sequences. So I couldn't switch camera made just once and slice-' n - dice all three target sequences to videos - short ' n-sugar that make my happy Editor. For the first target (a single question and answer). The result looks good in the body, and editor-in-Chief approves. All that remains is the addition of the lower thirds.

  Everything is fine until I go to export to AE via dynamic links so that I can add lower thirds and finish. What body sends to AE is not just my target sequence, but it also sends the multi-cam edit and the source sequence as well. But... he knows nothing and don't show me images of CAMA. BCAM appear not at all. Clearly, this does not work. But now I find that I can't even break the links. So I can not yet again. Sigh...

  Two questions: first, how does an export a sequence multi-cam edit via dynamic organization link to AE and do appear in AE-like it does in the body? In other words, what did wrong?

  Secondly, how can I recover it? Should I really delete my sequence target in the body and start over (and by extension, remove the AE project also)? No there is no way to break a dynamic link once it's done?

  --

  Bruce Watson

  Hi Bruce,.

  Jim already did you in the right direction.

  Common to follow way is:

  -You create your legacy third down.

  -you save. Do not export an intermediary (except your animation will not change, so you can export a file using RGB + alpha channel corresponding to your project in Pr or Avid or any editor)

  If you use PR, do not export. No prproject, no middle man, it's just save.

  -First, you choose file > Dynamic Link > import after effects composition.

  Then, in the opened window, you access the AE project where this model is.

  Choose the model, hit very well, use it like any other element of the source, IO in the source monitor or just put on a video track above your video in the timeline, like any other title.

  And don't forget to read the manual of articles about dynamic linking.

  They can give you a great insight to a fast and powerful workflow.

  And I'm pretty sure you can always use this knowledge in CS6.

  Greetings from Vienna,

  Felix

• How to remove a "Razor Cut" created from Multi Cam Monitor

  I have 3 cameras I do a multi cam edit.  Use the monitor multi-cam, I made my changes of camara, but in the end I spend 1 Camera2 camera and really don't want to.  I just want to stay on the camera 1 and melted.  How can I remove a "razor cut" so that the monitor of mult-cam placed there where I went from camera 2 camera angles?

  Thank you!

  Dan

  Means the faster is to remove the clip and drag the end of the first set to fill the void.

• First film edited with Premiere - proxy, audio questions and multi-cames

  I have several questions that I have not found in the videos and forums, at least not for my situation. I'm finishing the revision of sequences now adding comments in prelude and will begin soon to change it. Please excuse the long post.

  Background:

  I'm working on my first film, a documentary. Most of my work is 10-11 interviews, about an hour each. The majority is 4K Panasonic GH4, but some of the images is an Olympus MDGS EM5 II 1080.

  I recorded the sound using a LAV and a shotgun microphone, each goes in its own channel in a Tascam DR - 70 d, an external audio recorder, with a line going into the camera for reference. Audio and video files (at least one, since GH4 brings several) will have a slate tone to the head, created by the audio recorder. The recorder has captured the audio 24-bit, 16-bit audio captured camera. The recorder fooled also two other channels to lower 12db audio in the case of audio peaks.

  I will be changing on Mac laptop - 2013 MacBook Pro, OS 10.11.5, 2.9 Ghz Intel Core i7 memory of 16GB 1600 MHz DDR3, NVIDIA GeForce GT 650 M 1024 MB graphics card. I think I need to create my images 4 K proxies.

  All images is storage on my external drive of G. The interviews are separated and are located in the folders of each interviewee.

  The final project will be 1080, not 4K.

  Questions:

  Naming - being a hybrid, the GH4 breaks an interview of an hour in several separate files. Should I change the names of all files, or keep them in folders named in Premiere Pro? If I should change them, should I do it before swallowing?

  First synchronize audio and video, but since I have an audio file and several video files, I synchronize each video file individually or assemble them somehow, then synchronize? If each of these excerpts from the interview is sewn together, wouldn't that make editing more easy?

  When you create proxy for video files, also create proxy for audio files separate? Once synchronized, will be presented first the Hi output version of the resolution of the video and audio?

  Multicamera - in one case, I have an interview with two 1080 cameras. But for the rest, I've shot with a camera in 4K, so I intend to use a section cropped interview (zoom) when an important statement is mentioned, simulating a two cameras set up. Given that I have to create a sequence of multi camera after I ingest proxy files, first will be a problem activating/deactivating files proxy for the salvation of the res files?

  B - roll is added later, once the interviews are published about. It will be a few (not 4K) images and photos. Make the proxies of these too or first care to have all files proxy or a mixture?

  Finally, I have never edited a video which has been more than 10 minutes. This film could be of 40 minutes or up to 90. Everything I need to know to make the editing more smooth? I am a beginner!

  Thank you for bearing with me and thank you in advance for any idea!

  -SK

  1. allow only file names.  Make your organization with records (hard drive) and ferries (project).

  2. Manual of multi-camera method

  3. the audio files are small and will not need of proxies.  Export will always use the original media.

  4. possibly.  My first attempt was a disaster that froze the machine so badly, I had to do a hard reset.  However, you need not go back to the original of the sequence to make your cut-ins.  Proxy media will do fine work.  Simply place a copy of the plans at the 50% level in V1 and a second copy on the scale of 100% in V2 when creating the source multicam sequence...  Will allow you to see the full versions and then cropped the multicam editing.

  5. the photos no need of proxies.  If the B-roll change, make proxies for those.  PP not care a spirit to keep all the images the same.

  6. $ 2,000 custom PC vs $ 4,000 Mac Pro - YouTube

• Synchronization of four cameras with gaps in the timeline for multi cameras sequence

  I use Premiere Pro Trial CC to edit a multi camera concert. (The trial is just to see if the multi-came thing will work better than CS5) Since there is a limit of 30 minutes on four of my SLR, I have gaps in each of my deadlines of four cameras. All of these tracks were synchronized manually upward with a master audio track.

  In order to create a multi-cam sequence, I need to synchronize the video tracks 1-4, but so far have not been able to do. I tried to clips from each camera of nesting (so video 1-4 are all separate nested clips.)   I turn on the targeting of track for four channels of video and an audio track. Then I press 'I' to select a Point for the selected tracks. Not sure if this is how it works - just guess here.

  I then tries to 'Create Source Multi camera sequences' and tracks synchronization to aid 'In Points' on the nested five (4 video and 1 audio).   When I double click on the sequence of Source Multi camera to preview, I get four video windows appear, but the timing isn't right. It's as if they all were associated with at the beginning of the clip, not the markers that I put in front.

  So that's my problem. I can't synchronize these titles before creating a sequence of Source Multi cameras. I tried the synchronization of audio track, but it fails - too gaps to make it work, I think. I have no timecode. The only way I can think to do is to clip markers. Are some of these features disabled in the trial version?   Thanks for any help on this!

  MacBook Pro

  10.10.5

  Intel Core i7 2.8 GHz

  16 GB 1600 MHz DDR3

  NVIDIA GeForce GT 750M 2048 MB

  All of these tracks were synchronized manually upward with a master audio track.

  Then, with all your video tracks manually synchronize would with your audio master, you are ready. It would be a sequence with audio and 4 video layers. Now that nest, activate multi-cameras and turn on the multiple camera monitor in the program monitor and start your editing.

  --------------------------

  and if you want to try the other route-

  as for the creation of sequence of Source Multi cameras with points, place your points on your clips 4 source using the source monitor, you will only be able to get one on your audio files. That you establish for the created Premiere Pro sequence camera multiple source.

• workflow multi-cam

  I've recently upgraded from Avid and I am used to putting all my images in the source window and drop the clips in a timeline. in the first 6, I created a sequence multi-cameras with my audio devices and 2, I went through this sequence and created markers so I can easily find bites interview I want to use. My problem is this, when I put this in the source window multi-cam sequence, mark my in / out and drop it into my new timeline, I lose the mulit-cam property.

  I'm basically looking for a solid workflow that allows me to sync, mulit-cam sequences in a source window, which I can then pull clips from and insert into a timeline. If this is not possible, I'd love to hear how people work with sequences multi-cames that are just pieces of what will eventually become a larger edition.

  Thank you very much!

  Hey James. I'm not quite sure I understand what you're saying, but I think the essential and I think I have dealt with similar frustrations. That's exactly how I work with multicams in FCP 7 and Avid (i.e. sync audio and video tracks creating a multiclip, then load them in the source monitor, do the points of e/s and then only take pieces for the timeline) and me could not operate as well in PrPro.

  I know that there are two ways to make multiple elements in PrPro, the "old way" and how to CS6. This tutorial details how CS6.

  http://Provideocoalition.com/ssimmons/story/working_with_multicam_in_adobe_premiere_pro_cs 6.

  Have you used this method? If so, then I don't know what is wrong because it should work.

  But if you have used the 'old way' (synchronization of the elements in a sequence and then dragging this sequence in the timeline as a nested sequence (and not actually create a ' sequence camera multiple source "as explained in the tutorial)) so I wonder if you missed the last step. After you drag the sunc/nessted sequence in your timeline, you will have to then right-click on it and select "Enable multiclip."  No matter what chance you skipped this step, and you're not actually 'lose' the property of multi-came, you're just not him?

  I highly recommend the CS6 way, but because it's more like Avid and FCP 7 in that it creates a "multiclip" that opens in the Source you can then change down and use pieces. It was * almost * as good as Avid and FCP (even if I still of the oxen with how PrPro manages the audio multiclip, but that's another post for another day).

• Multi camera: Z3

  Hello

  I have a compact Z3 and a Compact of Z3 tablet. Both have the multi camera installed function.

  However, when I allow it to touch their back to back, they are trying to connect for a long time, but nothing happens and finally a message to say that they are unable to connect.

  They are obviously grateful each other, but there isn't any multi-camera event.

  I tried three permutations:

  (1) multicamera beginning the Z3 compact and touch to the Table Compact Z3. This results in a long delay, then a pop-up on the Z3 Compact to say "Connecting to the Xperia" and a pop-up on the Tablet Z3 compact saying "collected a new tag: application/onlineremote ' which is repeated on several lines." Finally the Z3 Compact says that it cannot connect.

  (2) in reverse with the Z3 Compact Tablet first. Same again (1), just the opposite.

  (3) start the camera both application and select multicamera on both and then press them back to back. They try to connect and then eventually abandoned.

  Any ideas? I'm not as something exotic. They are the two models Sony Z3 with the default android on them and they have not taken root.

  Thank you

  Joe

  Hello

  So, an important update on that.

  I called Sony and they told me to delete the data files and the cache for the application of the camera on both devices. I did and it made no difference.

  Then they told me to factory reset the devices, how I've had enough of bad mood because I spent long enough to implement and Sony did not have a specific reason why this should solve the problem. I felt that it was somewhat a 'try this because we cannot think of another thing to tell you".

  Anyway, I didn't do that. What I did to, it's get to restart both devices over the next few days.

  Then I tried again, put the two devices in mode multicamera, before I tried to open the connection. And it worked.

  Thus, three options are available:

  • Reset the date/cache for applications.
  • Restart the device.
  • Retry the connection when the two devices are mode multicamera.
  • Or maybe just a combination of those three...?

  I hope this helps someone!

  Joe

• All clips in my sequence of multi camera went black

  After spending a long time, editing a sequence of multi cameras, all the clips have now gone black. The waveform has disappeared, but the audio is not yet. Other clips on the same timeline, including another sequence mulitcam all seem to be good and I can't identify exactly where it happened in what concerns the measures I did.

  The last element in the sequence multicam has diagonal white lines through it. I don't know if this is related? Online forums suggest it's something to do with the insufficient media, but I don't really know what that means. The camera angle ends before the other, it's the only thing I can think of that would cause the white lines.

  I have attached some sceenshots I hope clearly the question - can anyone help? I'm desperate: I lost several hours of work! Thank you!

  I have it solved! (With the help!) It turns out that the original source multicam file has been deleted. I was able to return to a previous AutoSave and import it into the current version of the project and add a link to my sequence for it. So relieved to have solved this problem without having to re - edit. Thanks again for the help!

• How to create a camera profile that works with a JPG image with my color chart to check inside? [was: color Checker chart.] Really need help]

  I got a color chart to check. It came not with any software whatsoever. I shoot my images in JPG format. I know it's not really ideal but I'm on a tight budget and don't have the money for a digital SLR cameras that shoot raw. Is there anyway that I can always create a camera profile that works with a JPG image with my color chart to check inside? My table also includes RGB values below each color. Maybe I can match each color in the photo these values manually? If so how is this done?

  Thank you

  Bryce

  I've never seen software that does what you ask for JPGs, only RAWs.  The main problem is that any profile or adjustment is calculated according a JPG of a particular chart photo would apply to the other JPG photos with the same white balance.

  Jpg does not use "camera profiles" anyway in Lightroom, the profile is always integrated.

  There is a product that allows to calculate the HSL cursor offset values given a JPG photo their own table owner who looked like a color checker, but had two lines reversed so the software could not be used with a standard-checker color, unfortunately.  Now their table has twice as many patches (48), and looking at it on their site I'm not too sure that it does not always work with JPGs or if she's just raw files, now.

  The graphic and software are called SpyderCheckr of Datacolor.  There are various software that do different things, but none are using a ColorChecker, so having one is mainly a loss until you get a camera that can take raw photos, so keep a humidity and temperature controlled environment as much as possible until you have the right camera.  You can probably use the grey patches to adjust exposure, but that's all.

  Today you need not a digital SLR to have raw photos, well.  My phone Galaxy S6 with the last update of Marshmallow and the software of camera update will take photos in format raw DNG in Pro mode which I can create custom profiles camera to use a ColorChecker, although the camera is really good in itself, so when I found everything first he could make DNG I took a little but now, I usually just use the camera to make the jpg unless the shot is really important and the lighting is not too hard.  I think that S7 phone's camera is even better.

  What kind of camera do you have?  Sometimes, there are firmware hacks that allow the camera to shoot raw format even if the standard camera cannot.

• I have a sound of HUSH with one of my multi-cam sequence

  Hello, can the French guy with poor English here, you help me?

  

  It's my 'main sequence' (I call it "Montage"), left I got a subsequence multi-cam of an interview, everything good about it but right, I also had a subsequence multi-cam of an interview and the sound is horrible, as you can see.

  Two days before I have had no problem and today when I load the project, I got that.

  To see what I have and I go to the sequence:

  

  No sound problem, not DAVID.

  Of course, I tried to recharge my project, restart the computer, load the project on another computer, but none of it worked.

  I have an old auto-save where I don't have the problem but I did a lot of things since...

  So if anyone has a solution or something I can try please help me .

  Thank you

  Try this:

  1. close the Premiere Pro

  2 delete the Cache files.

  3 Rename the folder containing the media.

  4 put updated to 2015.2

  5 reopen the project and link it to the media.

• Complex issue of multi-camera editing

  I have a question of several camera.

  I have the following clips:

  1 video clip continues with audio

  24 with audio video clips taken at different times (from different angles and close ups) catches throughout continuous clip

  4-track mono mic that extend over the entire period (4 different microphones placed at various locations in the room)-they are defined as mono in the settings of the element.

  1 stereo audio clip which extends over the entire period of audio recorder separate

  When I create sequence multi-cam, audio-based, it does not complain and creates the element multi-cam.  However, when I put in a sequence, I have 26 audio tracks. Many of them are empty.  I have no audio at the beginning, although I see the video game.  The audio tracks I see seem to be all stereo, with his fate only one side.

  Is there any special way working to combine the sequence above in a multi-came track, where I can change camera angles that I prefer and then mix the audio based on who speak - IE spend an audio 7 sources and sometimes to mix some of them at different levels?

  Most of the videos I've seen does not appear to cover this level of complexity of clip, so really doesn't help.

  Any suggestions gratefully received!

  Thank you

  Dave

  What I do is manually synchronize everything in a sequence, then alt - select the video (and not audio), then right-click and embed the video tracks. Then right-click on this nested track and choose Activate/multi-cam. Now I can make multicamera on photo editing, and audio tracks are intact. I mix and remix audio to my heart's content.

  There are 2 drawbacks to this method, but for me they are tolerable. 1, you must get the synchronization just before you nest, otherwise it's a mess. 2, by balancing the sequence, you have to be sure to cut all the audio tracks at the same time to maintain synchronization.