Sequencing of same shoot cameras

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• Dynamic assignment of the NAC to the same vlan came on and off strip

  Hello

  Pls forgive my ignorance, I'm fresh in the biz of the NAC.

  I have a requirement for a client, very large high rising with numerous hospital, they want to assign MDs to the same vlan, if he or she uses the Office at out clinic, which would be OOB Layer 3, and even he or she uses the Tablet PC/PDA wireless during the round room.

  The question is whether this is something achievable. A little trick how to do it would be very useful.

  Appreciate your expertise.

  Thank you

  Saami

  By user role VLAN can be activated for OOB.

  The VIRTUAL LAN is configured on the role and setting up OOB, there is a check box that you need to activate so that the user receives the vlan configured on the role (I don't remember the exact section now..).

  With that, whenever a user who belongs to a specific role connects, he will receive the same VLAN according to what is set up on its role.

  I hope this helps.

• Can I mark videos with metadata / the camera angle before creating a multiclip sequence?

  Very well. Apologies... with regard to the first, I'm afraid that I'm a great beginner "Multiclip" so can follow the stupid questions...

  I created sequences multiclip and here to mark the clips from each camera with the appropriate angle label before creating the multiclip sequence (for example tag all clips belong to the CAM A as 'Angle 1', tag all the clips belonging to cam B tag such as "Angle 2"etc.) ... If the generated sequences are created with all of the same clips / camera angle on a specified single track (for example all A cam clips on track 1, all B cam clips on track 2, etc.).

  Is this possible?

  For the moment, it seems to be generating sequences containing hundreds of separate beaches, one for each element, which is a bit of pain to play. All likelihood that I stuffed up some settings somewhere... I don't see the options for 'Assignment of the track' during timecode synchronization, which offers to assign the label of the camera or camera Angle, but for the life of me, I can't find where the actually tag my videos with these data.

  Thanks in advance

  Andy

  Ahhhh... You have enslaved timecode!  Lucky devil!  I'm afraid I have no life experience with this (projects only tutorial).

  This post might help you:

  https://forums.Adobe.com/thread/1871960

  He speaks award camera angle and label the camera in the metadata

• detection cameras two PB GigE with MAX on the same pc

  I installed on the same GigE camera for two PCs, each device has its own interface card (IP), but only a camera in dtected with max.
  cam0 sometimes and sometimes cam1. I have to wear each camera fixed an IP address, but still only the camera is detected.
   
  My question is how to do the configuration to appear the two camera at the same time with max.
  I use the version of MAX 5.3
  NEITHER IMAQDX 4.0
  You think even match for your help.

  Are you running Windows XP? If, therefore, due to limitations in the underlying OS stack, you will need to place the cameras in different subnets or to fill the two devices together in one virtual device (preferably) NIC.

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• Mutli-camera Source sequence does not: 1st successful insertion, thereafter inserts come as the batteries

  I use the function multi-Cam for several years and have never experience this problem until the most recent version.

  I have create a multi-cam sequence by selecting all my sources, and then select 'create multicamera Source sequence... '. »

  Then, I usually open in the timeline panel and remove all titles of garbage, recheck sync etc...

  Now, here's where things have been found funky. Multi-cam works if I select my in and out and make then a new sequence clip, but as soon as I select a new in and out and try to insert it as a sequence of multi-Cam, the content is not in the sequence of nested multi-Cam, but as the batteries of the gross support.

  I've found a workaround, but it's not ideal, and nesting requires the full work multi-cam sequence and then opening that in the source monitor and inserting in my sequence, which seems very nearby and creates other additional problems with markers and general speed and ease of use.

  I'm on an iMac running 2015.3 with OS X 10.10.5.

  Just tried it on my Mac Pro running 2015.4 and did not have this problem.

  Will be updated of 2015.4 little time and after an update.

  So nobody knows what is happening here and how do it so I can just insert media based on the 1 Source multi-Cam sequence that first generates?

  

  Toggle this button:

  

  MtD

• 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.

• Multi camera using an existing sequence already synchronized with the eyes of the plural

  Hi all

  I just tackle multi cam in first pro 2015 (fully updated)

  I watched an excellent tutorial from Colin Smith using the step by step instructions, but he began by selecting a number of clips in the tray. I managed to create a multi cam

  by using this method.

  BUT

  I already have a sequence that has been synchronized with the eyes of the plural. What I would do is multi cam this sequence, do not need to synchronize again.

  If I right click on the my original sequence in the bin, the sequence of source multi camera 'create' is grayed out. If I select "new sequence of the clip" a new sequence is created

  but I can't change the plans etc (nothing happens when I click record and click the scenes or use the quick access keys)

  So, my question is how to create a sequence of cam ready multi for editing an existing synchronized sequence?

  Thanks a lot for your help

  Chris Anderson

  If I right click on the my original sequence in the bin, the sequence of source multi camera 'create' is grayed out. If I select "new sequence of the clip" a new sequence is created

  but I can't change the plans etc (nothing happens when I click record and click the scenes or use the quick access keys)

  You are on the right track: right click on your original sequence. Select new sequence of the clip. Open in the timeline panel. Right-click on the video track. Select 'Activate blocking->' and then change the programe in blocking monitor view. Read the sequence and you click with your mouse on the angle desired in the program monitor should turn red. It work?

• 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

• you have the camera?

  I don't. Well, I had some undesirable point and shoot something that gives me mov 264 (thank God) I could test on my computer with cineform AVI conversion (to see if my computer mouse could handle)... and it's too mousey make a real documentary (my computer and cs3).

  So I have to upgrade to 64-bit, get CS6 thing production and move. Some here think that mov is not good because of the Quirktime (32-bit) and some think that mac (res pro) is not good and some other things... many think thoughts there. I couldn't care less.

  I want to get SOMETHING I can draw pictures of movement with... and change. In my mind at this point... because it is simple, YES, YOU'll get IT DEVINE... BEER THIRTY! YAY!

  That said, it is now to tell a story. How can we imagine shooting motion pictures WITHOUT telling a story? I can't. If I take photos even more of one or two of the same substance, it becomes a "series". If I shoot 24 fps it becomes now bound in time and on time tale... It IS ESSENTIAL, to tell a Visual story through the illusion of time and images.

  so... now what that? After decades of telling stories with such things we have tons of little gadgets that can record several images very quickly through chips etc... YAY!  What's up with fairy tales? Not much IMO. The part of it takes some planning and thought and finally some (YES YOU are DEVINE IT... EDITION! YAY! ).

  As this forum is about the change and tales, I think it is perhaps high time that someone started to focus on it a little more.

  I know help here as others who have no idea of how a computer works without talking about this suite of program etc, but it's really only going to be a successful product, if the results are decent and fullfill the dreams of the company try so hard to be a player in the world to tell stories.  It's not the 'market share' one can think. It is not the lowest common denominator. It is simply to tell a story and what happens with a beautiful product of end for all of us to enjoy.

  Let's start to talk more please... talk about Rodan, how he's lonely. Talk about your own stories at home and make some modifications to your imagination. Write the stories in your imagination and get there with shooting and make WHO finished with your editing using adobe products. PLEASE, I BEG YOU!  A freaking story! Sell something. Tell me something!

  If you just want to sell books or technical expertise and to be an adobe lover that is correct... your help is needed. But if please tell a story before he died with this revolution and allows to share in the forums. It is movement, not photographs. He revealing story and a lot of work, we're going to do. We will use what we have at our disposal and do it before everything degenerates into a sad story of the DEATH of stories in our culture!

  Rod,

  Perhaps you are overthinking the technical aspects of the colaborating on long distances. Think rather, how communicate you if they were in the same room. The same tools to work for both situations in most of the cases. I used to live on the coast of Easy and colaborate with people on the West Coast. No real movies, of course, or even documentaries. I specialize in the training, that's what I'm working on with other people when the opportunity arises. Yet, the tools we use are no different than the tools that you can use.

  For example, to tell a story, I imagine that most people start with a table of Storyboard. Sometimes it's nothing more than a series of sketches on paper 8.5 "X 11". (A4 or in other parts of the world). You could go to very difficult to animate tables storyboard, or using programs of professional Storyboard. Or, you can sketch out an idea on paper and just photograph the paper with a Smartphone and turn it into a PDF file. There is an app for that.

  The people at the other end and then print it out, draw on it and test it back in and send it. Or, perhaps, you paste the image into a Microsoft Word document and they can use the annotation feature to communicate. They open the image, edit and save the document as a new version number.  This kind of things back by e-mail or simply share a dropbox account specifically set up for this project.

  It is pretty basic, but what happens if you pointed out also a videocamera to yourself as you examined him each image? They would hear the tone of your voice, the excitement generated on ideas and hesitation on the other. Integrate with video images, and you have a way to really communicate your point of view. People respond to Visual cues. If they understand why you did something with a tool for editing and you then show them other choices, you are likely to convince that your way is the best, or they can challenge that. But you gave your best shot in looking them in the eye, as it and make them benefit from your experience.

  What happens if the video you posted above were places where you broke in and discuss why you have chosen to do what you did and what you think would work, and they have suggestions about this particular section? Put a solid screen without interruption under the video timecode, you post on Dropbox to make it easy for them to refer to your questions.

  What happens if you stopped the video at 6:12 and told them why he was left light parasite in, or why you intend to eliminate it in post?

  You have a video that plays all the way through to your first edit, and another who has the video of break you in all directions, discussing the editing of the scene next, coming, etc.. Or there are two ways and ask for feedback.

  These are the same things you could do if they were in the editing with you, room or conference room. Why let a little thing like distance cause a problem?

  If you are willing to work with time zone problems, there is nothing stopping you to share screens very early in the morning or late in the night with someone on the Internet. GoToMeeting is such a great place to go for such things. He is not fast enough for live video, but it is pretty fast, in general, to discuss the individual frames of a video and other concepts (same correction of color if you coordinate your monitors with the same brand of adjustment tool).

  If they have the same video source that you do, you pause while both watch the video off the screen, and then you both come back to discuss.

  If you need to work with another editor and you posted the source material where you can also use it well, then all you have to do is to share your project file. You post where they can get it, and they play the timeline the same as you would. If they have any suggestions they make changes on a copy of the sequence and download the project to download. This method is preferred when the project is divided into a single project by scene. This requires that you plan in advance and the use of drive letters that can be put in the same place on both computers or it becomes a bit complicated. I worked this way on a project once. Came out great. We ended up using drive letters S, T, u and V just to get to the top and out of the way.  I ended up leaving like that until I've changed computers. After that, it was funny for a have a D drive.

  So, no special tools. Nothing, you have not already. And nothing you can not do with this small point and shoot camera or mobile phone.

  I think of it this way. You edit a video to tell a story. Convince people that you know what is best for the final outcome requires you to tell a story of sorts. Collaboration is almost as showing both sides of one of these small documentaries that show how a movie was made.

  Before I call it quits for the night, to answer the question:

  Have you seen motion pictures that tells a good story, and he says well?

  I don't know what is good. I know only that if she catches my attention throughout the beginning to the end, if I care about characters, and if I want to film was to the end because another couple of hours would be fine with me, so the film is 'good '.

  I want to be entertained, but I want especially to escape the world being presented to me on the big screen. Take me to the 1860s with Lincoln and listen to his thoughts on the major issues of the day. Make me dream of sitting in the Chair of a starship captain. Take me dancing and let me fall in love all over again with the idea of romance.

  In many cases, I find that television allows me to bind with a character in a way that is not the movie. So when a great Director is tackling a TV project, I'm the first to set up the DVR. Give me time to learn enough on a character to love, hate, pity on them, or some emotion is desired by the Director. Unfortunately, not many great directors work on TV. But now and then, from time to time, it's going to happen.

  In other words, don't just tell me a story. Pick me up and put me in your story if I had to walk out of my door and found myself in England at the time of Jack the Ripper, I'd know what to do and who to trust. If you have not watched Street Ripper on BBC America, I can recommend it as a way to escape from reality for a little while that every week.

  Unfortunately, my wife and I won't to see movies very often. Most of what I see is on Showtime, HBO or Starz. The advantage of this, of course, is that I can go back and play to catch what was said or to make sure I saw what I thought, I saw. It disrupts the flow of the movie that the Editor worked so hard to get, but what I can say? It is what it is.

  Also on the subject of the tale, I watch a lot of videos of TED. This one is particularly relevant.  http://www.Ted.com/talks/andrew_stanton_the_clues_to_a_great_story.html

  There are a few other videos. These six are worth watching:

  http://www.Ted.com/playlists/62/how_to_tell_a_story.html

• Helps the first ever camera purchase

  Hello everyone, I'm looking for in getting my first camera ever and hoped to get a suggestion or two. I want to be able to use in low light conditions as the observation of the stars if possible, but the main reason would be to use on holiday, seen seeing. I personally found the DxO One for the price of $500 and don't know if the size of outweigh the specifications of the camera for that price. I have also suggested the Sony A6000, $550.

  I was hoping to get some suggestions for a first time purchase at or around the same price range as the two cameras above the barrel.

  Thank you very much for your help!

  cciga wrote:

  Hello everyone, I'm looking for in getting my first camera ever and hoped to get a suggestion or two. I want to be able to use in low light conditions as the observation of the stars if possible, but the main reason would be to use on holiday, seen seeing. I personally found the DxO One for the price of $500 and don't know if the size of outweigh the specifications of the camera for that price. I have also suggested the Sony A6000, $550.

  I was hoping to get some suggestions for a first time purchase at or around the same price range as the two cameras above the barrel.

  Thank you very much for your help!

  My personal opinion is the One DxO a gadget out of price point and shoot camera.

  On the side of Cannon I would consider the PowerShot G7 X renovated ($449.99) directly from Canon with the one year warranty.

  Regarding the Sony A6000 is where the cannon becomes the choice clearly better. When it comes to cameras with interchangeable lenses, Canon has the best value of lens there. STM of Canon lenses offer outstanding image quality, at an unbeatable price.

  The EOS Rebel SL1 with EF-S 18-55 mm f/3.5-5.6 IS Kit Lens STM black handed to nine ($329.99) direct from Canon with the one year warranty.

  The SL1 received DPReviews Gold Award and was chosen as their "Camera of the year".

• Any Powershot camera allow exposures more than 15 seconds?

  I want to be able to shoot shows at least one minute or more, mainly to photograph pictures of night of lightning, stars, meteors, etc.. I would also like to have the convenience and accessibility of a point and shoot camera. To present all the Canon point and shoot cameras I looked no more than 15 seconds only allowed exhibition. Are those that allow the exposure time?

  Hi raydunakin,

  The reason why you can't find many cameras PowerShot that take more than 15 seconds, it is the small sensors, heating becomes a problem. Too much heat can shorten the life of the sensor, or even damage the data on the chip. The Canon Hack Developers Kit (CHDK) is software that can be downloaded from a number of cameras PowerShot exceed this limitation. If you go this route, use it sparingly to avoid possible damage from the accumulation of heat on the sensor.

  If you increase the price range, the PowerShot G (G16, G7X, G1X) series cameras can exceed 15 seconds in Tv mode and manual. These cameras have bigger sensors more large boxes and are not as prone to failure of the heat of the exposure time. But be prepared to shell out some serious money. These are not cheap, starting at $500.00 and climb rapidly from there. If the exposure time are important to you, you can consider a DSLR or CDI entry level camera. They can be had for around the same amount of money and performance much better low light performance.

  Steve M.

• Motion Tracking stop motion or through the elements in a sequence

  I have a project that I am currently between Pr and Ae. The sequence consists of short clips, creating a stop motion effect. Mixed there are longer excerpts. The entire sequence is a static camera, a shooting table surface.

  I have an EI clip in the mix as well. I need to follow the motion of an object through the entire sequence of placing text on this object.

  I tried the clip of nesting and replacing them with a model of EI, but he freaks out because I already have a model of EI in the mixture.

  I could make the entire sequence, but I would not do this if possible.

  Anyone know how to make this work?

  You could make your AE project that is inside your sequence of wholesale. Which would remove the "freakout".

  I don't usually use Dynamic Link. I often use the option import first Pro of AE and it brings the whole sequence of the creation in AE with any changes on its own layer. This has pros and cons vs Dynamic Link, but it works better for my workflow.

• Import of TIFF in AE as a sequence, why 'Footage' greyed out?

  Trying to import a sequence of Camera Raw or TIFF images for use in a project of time-lapse of After Effects, as soon as I select the image in the foreground in the folder, the import that: selection of sequences becomes gray, I have check the TIFF sequence however and only the first image imports, with an error message saying: "the sequence has 331 missing executives."

  Is this a setting? Why can't I import a sequence of images in the normal way...?

  Thanks in advance!

  Turn power on in alphabetical order.

  http://help.Adobe.com/en_US/AfterEffects/CS/using/WS3878526689cb91655866c1103906c6dea-7f7c a.html #WS3878526689cb91655866c1103906c6dea-7f78a

  Your CR2 sequence clearly shows the missing files in the numbering sequence. That's why you get this warning message. If your file contains all the files that you want to use, then you must either renumber files or just use the alphabetical Force option.

  I see no problem dialing in your TIFF or JPEG sequences, but I don't see the page you provided. If you get the warning with these two sequences, the same logic applies. Make your choice: return to your source to find the missing images OR activate Force alphabetical OR correct file numbering.

• Impossible to get a Multicam sequence of work since the update

  I have updates for Premiere Pro. Last mo nth I started a project with three different angles and was able to create and edit successfully the project without problem. Shot different project, same three cameras, same files and I can't do the sequence multicam sync anything. I tried all three views, any combination of the three, export to different type of files, nothing works.

  What gives?

  Any help would be appreciated. As with anyone else, I know, I have a deadline for this project.

  Thank you

  Running Windows 7 64-bit OS

  16 GB of ram

  I guess I'm not as crazy as I thought! Seems that I created the problem on my own. A sequence has two tracks, one I couldn't see not in view, and it was not sync'd up with each other. Once, I removed and made the multicam went right away and am at Midway through a ceremony of marriage to edition!

• opposite of ctrl-shift-f of the nested sequence

  A position of playhead to in a nested sequence (say, a multi-camera edit sequence), I can use 'ctrl-shift-f' to take me to the same images (probably a playhead position) different in the source sequence. It allows me to find the source.

  Q: is there anyway to do the reverse? I want to start in the source sequence, then find where this film the layer source is used in a nested sequence. Is it possible to do in the body of the cs6?

  And yet, there is a "hidden" feature that does exactly this. If I place markers in the source sequence, they appear in the nested sequence. It is so easy to match the two. Here's what I mean:

  First of all, in my source sequence, I place a couple of markers with the button "m":

  

  Then when I look at my sequence nested (in this case, my Multi-Edit sequence) I see markers in the calendar that does not explicitly place there, that exactly match the markers I placed in the source sequence:

  

  Is this cool or what? Saves me a lot of time and frustration. These Adobe engineers... very good code, body cs6. Pretty darn good.