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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
The angles are synced. >> Yep. >> We've got everything in a timeline. >> Yep. >> I think it's time to edit. >> Yeah, we even checked that, made sure that things were in sync, which they were. >> Yeah, we did that before you saw it, because the last thing you want to do in a tutorial is go, oh, it works, and it didn't. But in this case, everything worked. >> Yeah, and it's one of those things, as you mentioned before, too, Rich, when, if, you know, that auto that auto analyzation of the wave forms of the audio option, if that didn't work for you because of the quality of your audio, don't have any fears about that. You can always go back and manually set markers or endpoints and recreate that synchronization process.
>> Or jump in the DeLorean, go back in time, and attach a microphone to each camera, or at least learn, and do it right the next time. >> Absoutely. >> All right, so we've got everything here. What we need to do is a little bit of customization to the user interface. >> Mm-hm. >> And one of the things I want to point out, we're actually, got this footage sitting on a USB2 hard drive. Not the best drive to be editing video off of. >> I believe we did an episode a while back about hard drives, and what you should use for editing. I don't think we, we said USB2 for those hard drives, but sometimes you gotta make do. >> Well, we're going to make it work here.
And I could obviously media manage this to the internal tribe, but I did this on purpose so you would see that this is going to cause the system to choke a little bit. But, one of the things we could do right away is drop the playback quality to half, or even a quarter, to make it a little bit simpler. >> Yeah, and this dynamic playback quality is going to sort of lessen the overhead that Premier Pro needs to play back multiple streams of audio and video. Now, in this case, we're playing back, H.264 files, really, for the most part. >> Yeah. >> And those are relatively low bandwidths. So, this USB2 drive would probably be able to handle it.
But if you were working with, say, Pro Res files, or Cineform, or DNxHD or something that's a little more beefy, you're probably definitely going to drop frames off a slower drive. So being able to use this dynamic, playback equality is going to lessen the effect of that. >> Yep. And the next thing we need to do is customize our buttons here. Now, I'm going to take advantage. There's two buttons, Multi-Camera Record. >> Yep. And Multi-Camera Monitor. Now you don't have to use these buttons. You can actually access these controls from the Settings menu, and you'll see that they actually appear in here.
And you can turn on some of the Multi-Camera monitors right there, and that's going to switch the view, but that's all that button did. Now, there we go, it switched over. And what I'm going to do is basically hide this and make that bigger. And instead of, older versions would actually have a dedicated separate window. >> Yep. >> This is all done in the program monitor. Yeah, and just so people know what they're looking at, on the left-hand side, you're seeing all of your source angles from this multi-camera clip that we created. On the right-hand side, you're still, essentially, seeing the program monitor.
You're seeing what's underneath your playhead there and what people are going to see in the final product. >> And let's check sync real quick. We'll start on angle one. And we'll go to angle two. That looks good. >> Yep. >> Looks good. Seems in sync. >> Yeah, and sometimes, Rich, it's a little hard to tell, especially when you have a singer like Jason, who doesn't move his lips a whole bunch. >> Yeah. >> You know, so one of the things that you sometimes do is you'll drive yourself crazy, is that in sync, is that in sync? One of the things I always look for, especially in music videos, is not actually lips, because that can be hard to tell, would be more things like a guitar strum.
Is he hitting the down strum of the guitar? Or something like that, cause you can really. >> Or a drummer. >> Or a drummer. Yeah. The hit on the, on the snare drum or something like that would help. In this case he was playing solo. But you'll just drive yourselves bonkers if you are trying to look at lips all day. And you'll convince yourself its out of sync, it's in sync, its out of sync, its in sync. And again, if you do have those worries, especially in the method that we use for the, audio synchronization using Adium, you have a little OCD like that, go back and manually sync up the clip, and then you won't have anything to worry about. >> Yeah, so let's just choose undo here to get rid of those edits. I'll go up towards the front.
Now, we do not have a full-size keyboard attached, so I don't have the benefit of using the numeric keypad. I would recommend that you go ahead and set up the numeric key pad for that, >> Yep. >> And then you can actually switch. But on a laptop, we can go ahead and customize our keyboard shortcuts. There it is, it already jumped to the right one. But it's camera, and so cut to camera one is Ctrl+1, 2, 3, 4, 5, 6, 7, 8, 9. Well, that's actually the same as just using the number pad, but I don't have a number pad, so I'm going to renumber these.
And I'm just going to say one, two, three, et cetera, and it tells me that, you know, this was previously used to select a camera. That's fine. That'll also work for selecting the camera in record mode. It doesn't really matter. Either case, that worked. You can cut to the camera or you can use the Select Camera shortcuts that were down there. >> Right and just to be clear about that, there's a difference, sort of. Select Camera is literally doing a soft switch. You're not actually making or committing to that cut. Whereas Cut to Camera is like a live switch.
It's saying, actually switch over to this one. Personally, Rich, I find Select Camera, to kind of be useless. I mean, it's kind of like a practice pass. As I'm going through it, I want to actually, you know, be the director, and say, nope, go to this angle. >> Yeah, and now that we're ready, I'll just hit record. Now, the big thing to realize here is it's not going to be perfect, and it doesn't have to be. If you really screw it up, you can undo. I'll usually just take a first pass. If I'm completely unfamiliar with the production, maybe I wasn't at the shoot, I'll listen to the music. sort of pick up the rhythm, the vibes, and figure out what's going on.
Otherwise, I'll do a cut. And if I'm a little off, if I miss a beat, if the camera operator suddenly pans one direction, no big deal. I can always trim the shot later. Alright, so we're there, and we're not going to see any audio, in this case, because it was the click track. >> Right. >> So, we're like, well, there's no audio up front here. That's because we got rid of that audio, and we're only using the click track. So when I hear my first beep, that's a good place to cue it up. >> Yeah, and keep in mind, you could always trim off that, that, that head here to get rid of it. >> There we go. Mark an in, mark an out, extract. Good.
>> Okay, good. It made me feel better. >> We click record, and I'll just set my first angle for the wide, and press the space bar. There we go. And the director likes Robby Ingles, number three. Get a little bit on the guitar string there, and then, let's cut to his face. And we'll go a little wider, angle four. Now, you might notice, the timeline doesn't appear to be updating. >> And that's one of those cases where we were a little late getting off the shot, but that's okay.
We can trim. >> Mm-hm. But the thing about the timeline not updating, Rich, just go ahead and hit space bar for a second to pause playback. >> Oh, look, there they are. >> There are all your cuts, which is, which is really nice. And the thing about this is that, as you pointed out, if you were a little late on that, you could always go back in, use trim tools, ripple or roll the edit or, you know, whatever you need to do to make it work. >> Yeah. Just grab that and using the, the rolling edit tool here, it's super easy to adjust that and you get the trim tool so you can see.
So there's that little bobble in the camera. >> Mm-hm. >> And we'll just get rid of it. And that's fine, and if you totally change your mind, if you say, you know what, I didn't want that angle. I wanted that angle. You just click, and it switches. >> Yeah, whatever angle your playhead is on down on the timeline, it's going to switch to that angle after you get out of record mode. >> Yeah, so this is a super easy way to put together the cut. You would just keep going through the rest of the song, and if it didn't work out for you, try again. Just hit Undo, and do another cut, or use those trim tools to refine the edits.
>> Yeah, I often find myself, when I'm doing multi-camera stuff like this, I kind of just try it three or four times, and then kind of compare those three or four times together. >> Yeah. >> And go, yeah, that one works better. >> Well, and that's a good point, Rob. You could duplicate that, remember, you still have that multi-camera source sequence, so you could either make a new multi-camera target sequence and duplicate it before you cut. >> Right. Or just go back to the source sequence, right, say, click on it, and say make a new item from this, and then, start cutting. This is so easy. It's fun. I would encourage you to hook up the full-size keyboard.
It makes it a little bit simpler, and consider sitting back a little bit from the computer. I will often mouse over this window and press the tilde key so it maximizes fullscreen. So I'm just seeing it, it's like my old days of live TV. On the right is the on-air monitor, on the left are all my sources. And I could just sit there punching the show like it's a live take. >> Yeah, and it's really, as you said, it's really fun. And the thing to consider is, you know, especially with a music video, just practice a little bit, and have fun with it. This is a process where, I think, that you can experiment a little bit.
There's no right or wrong, and you know, if you do it a couple times, I think you'll get a good result. >> All right, so dig in, explore some of those other tools like color correction, trimming, maybe tossing on a lookup table to even out the shots. But have fun with this and go ahead and cut your own music video.
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