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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.
So Rich, the first step in working with any multi-camera production in post, is getting your footage organized. If you have footage sort of all over, it's going to be really hard to tell. Oh, this angle, and this angle go together, and so on and so forth. So the first step is always to get organized, and it's pretty easy to do here inside of Premier Pro. >> Yeah, we're just going to switch our workspace to the Metalogging one, giving us a little more room for organization. It makes the, the project browser a bit bigger. >> Yup. >> And, this footage has already been organized by how we shot it. So this was a two day shoot. We've got day one and day two, and the second day was the day we did at the club.
>> Yep. >> So, if I twirl that down, I see all the shots. And they're organized by each camera. So, we've got the Jib, the Lath, the Low Angle, the Medium. And that's fine, I can expand that out. And we actually see who was on which cameras. >> Yeah, and the important thing here when working with multi-camera footage and organizing it, is that you want to be able to come up with a system for organization. It doesn't really matter how you do it. By camera, by the camera operator, by the camera media card. The thing that's really important is that you have a system, you understand it, and you stick to it.
>> Yeah, and what we'll do here is we're going to do just that. So I've got the footage. Let's make this a little smaller so we can check in the source monitor. And essentially, I can either work with what's here, or I can move it into a new bin. I'm a big fan of putting all the takes, like this is a multi-take performance, into one bin. So I'm just going to call this Multi-Camera. And let's just jump to Take Two with the assumption that Take One was never the best take. >> As that's usually the case. Take One is usually the practice, everybody is getting used to what's going on.
So, we'll open this up, and there it is. And we'll just go and we'll check the marker slate. I can mouse over, press the Tilde key. >> Yep. >> And, you know, obviously this was the jib shot, so we're a little far back. Let's zoom in there, and make sure that we've got the right take. And, it's a little hard to read but you should call it out. >> Alright, music video take two. Marker. >> Good. So that's what she always calls it, because at this particular angle we couldn't see that. So I'm just going to drag that into my multi-camera Take Two. So there it is, there was multi-camera.
And then let's just take a look here at the locked angle. I'm going to guess that take number two will just pop that up and see. Looking for the slate. Cameras rolling? Yes. >> Go Pro's still rolling? There's number two, I see it right there. >> Mm-hm. >> Multi-camera two. So that's good. We'll just drag that in. Now, I'm not going to use the Go Pro. We will come in here, and we're taking a look. So this looks to be the second take, I'll load that up. Let's just mouse over, press Tilde, check the slate.
That says number three, so that's the good news, that's why we number our takes. So I'm going to guess that two four is number two. And let's just take a look at the video track for that. Mouse over, there's our slate, yep, that's take two. Let's just bring that on down. >> And again Rich, you're moving these clips into the Multi-camera folder. You could also right click on them inside of Premier Pro, and choose to duplicate them into this new folder as well. >> Yeah, and I see this as non-destructive because I can always save the version number of my project.
This big thing is is that you just want to get all the same ones together. >> The center's rolling. >> Yes, go for it, still rolling. >> I see a number two there, but I want to be sure. >> Music video take two, marker. >> Yep, good. >> And we'll drag that on down. And this is really just one of those steps where if you're paranoid, and I would consider it healthy paranoid. Things are going to work out, but I think we can be pretty confident here this is going to be step two. >> Yep. >> Let's see. Yep, it says two. We can see it right there on the slate.
And the producer, Rachel, was angling the slate to try to make it easier. But, we all could have been a little better in the field of chasing the slate. But that's why we audio slate as well, so we don't have to worry about it. >> Mm-hm. >> And, we're not going to use that camera. So we've got 1, 2, 3, 4, 5 angles. >> That's a good start. And the, the other thing too, that you can help yourself with. When you're organizing this footage is you actually see that we've done it. We were just doing it sort of the slow way, but we actually have gone ahead and actually labeled in the description field, in the project panel here. >> Yeah.
>> Hey, this is take one, this is take two, to take three, and this process, of course, is known as logging. And this will sort of speed up the process when you're looking for footage. And actually, inside of Premiere Pro, you can even search these different fields to find the shots that you're looking for. >> Well, you bring up a good point there, right? The logger actually labeled every performance to make it easier for the editors. We were bull-headed and missed it. >> But that's okay. It wouldn't have been there had somebody not done the work. So you would have had to manually have done this, like we showed you. >> Mm-hm. >> Or you would have had to find somebody else that you convinced, or paid to process all your footage.
But that's where the description field comes in handy, and that's good. We could see music video, song one, take two performance. So we know that that's right. Let's just go ahead and get the track in there. We have the dust and bone track, we can use the click track version if we want, but I think actually it won't really matter in this case. So, we're just going to take this normal one here, and I'll move that up into the bin, and this extra step is just a good way to work in Premiere. You don't have to work this way, but i find if I put everything in one bin, the next step of creating the multi-camera sequence is going to go a lot easier.
Because Premiere doesn't have to look across bins. Putting everything in one folder or bin is going to make everything that comes afterwards so much easier.
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