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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.
Now that the footage is organized, which is actually one of the slowest parts of the multi camera editing. >> Always is. Yep. >> Yeah. It's organized, we're ready to start editing. There's an important choice here. We had two versions of the song. He was lip syncing, and we've covered things like click tracks before. >> Mm-hm. >> We can use that, right, the click track's going to have a beep that's pretty easy to line up. >> Yeah, and I, you know, I would suggest when possible, when using multi-cam footage, is to use that click track to sync up to. Because it's going to be another sort of gut check, if you will, >> Yeah. >> In terms of being able to sync up the footage.
>> Well, if we load that there, you can clearly see the beep. >> Yep. >> We've put a marker. Then all I have to do is load each angle, and if we switch over here to the Audio Wave Form view. And I'll switch work spaces back to editing to make this a bit easier. >> Mm-hm. Yep. Let's just zoom in at the front, it's going to be pretty easy to find that, we'll just start at the beginning. So they'll be a little chatting because there always is. >> Be here to camera 2 rolling, speed, the center's rolling. >> You hear the chatter from the crew.
>> Still rolling? Okay good. Are we good? Excellent. >> There's the producer correcting us, and I'm going to bet these The beeps. So we'll just zoom in. There's one. There's the last one. And right on that beep, which clearly stands out from everything else. That's one of the benefits of having that click track where. >> It makes it really easy to find. >> Yeah, you're like, oh, there's a repeating pattern in the wave form. >> Mm-hm. We put a marker there and we would do that on every other clip.
>> Yep. >> Now that's a lot of work, but it's the most precise way. And if you don't have good audio on every camera, this is how you're going to do multi camera sync. >> Well, right because this way what we're doing is we're manually telling the NLE, in this case Premiere Pro. Hey, this is the point that we've visually inspected, and we've listened to the audio, that this is the reference point. But of course, it does take, you know, the task of sort of opening up every single clip. >> Yeah >> Finding that same reference point. And by the way, you don't have to just use markers, you could use end points or out points or whatever. But markers are a handy way.
But Rich, there's a different way of doing this. But the big thing about this, and the method we're about to use, Is that requires that all of your cameras in the field are also recording audio, and we generally refer to this as reference audio. >> Yeah. >> This is going to be a track that you're not going to really use for anything other than syncing. >> And, it just needs to be loud enough. So ideally, you would attach shotgun mics to your DSLRs. Or make sure that the cameras were on autogain so they were gaining plenty of volume. You're not using this audio for anything other than, as you nailed it, reference.
>> Right. >> Now, let's do that here. I'm going to mouse over this bin and press the Tilde key to make it big. >> Yep. >> And what's important here is the order that you click. >> Absolutely. >> Now what matters is I want to select the audio track first that's going to be used for all angles. Now, if this were an interview, maybe we'd want a switch from one angle to the other. >> Mm-hm. > But I don't. I want to keep the music the whole time, right? >> And this is, and this is another reason to use the click track, because it's going to match up more precisely with what's going on in the audio from what we got in the field.
>> Alright, so I've selected that, and then holding down the Cmd or the Ctrl key, I just chose the other angles. >> Mm-hm. >> In that bit. >> Yep. >> Now, it didn't really matter the angles but the order I click is the order they're going to be assigned. So, >> Right, so the second, the second you time clicked is going to be angle number two and so on and so forth. >> Yeah. So if you actually had some specifics like maybe you numbered your cameras in the field. You can go ahead and click in that order, and it's going to allow you to say oh, this was camera one. Camera one was my wide shot. It's really as much control as you need. >> Yup.
>> Alright. We've got those selected and now I'm just going to right click and say that I want to create a multi-camera source sequence. >> Yup. >> Which is a special type of sequence and there's our choices for synching. Yep, so we can choose, so obviously if I place an endpoint on all these angles or use outpoints. Now, in the case of DSLR, you're not really going to be reali, reliably able to use time code because DSLRs don't use time code really except for time of day and that's not all that reliable. But you'll notice that there's another option there labeled Audio. And we've talked about this in previous episodes.
But what Audio does, is it compares the audio waveforms of your reference audio, the audio that the cameras are recording in the field. And in this case, it's going to compare that To the studio recording we have of our artist, Jason, playing. And it's going to analyze the two wave forms, and attempt to line them up. >> And what's great here is, I say the sequence settings are based. I can choose these based on which camera, camera one is going to be using the one that I clicked on first. >> Yep. >> And I'll do stereo. So while this says sequence settings, this is where is the audio coming from, so That's why I made such a deliberate effort to click on the audio angle first.
>> Yeah and there's some other options here too. If you're finding that hey, your audio is a little out of sync for whatever reason. You can adjust some offset there. You can move source clips through a process clip spin if you want to, that's all fine. >> Yeah, so I'll leave this as is, I won't move the clips. I'm choosing to sync on audio, I click OK. And it goes to town with the analysis. Now, if this method fails, and I'm not sure if it's going to fail or pass. Like if there was not good reference audio, it might fail. We would then have to go back and use the marker method but. >> Right. >> going to cross the fingers here and say go, go, and in just a second it'll finish up. Okay.
So you can see Rich that it's finished up. >> Yep. >> And actually take a look at the icon there in the project in the project panel. It looks like sequence on it, icon, but it has multiple clips stacked onto of each other. >> Yeah. >> Indicating that this is a mutli-camera sequence. >> Well, the normal sequence icon short of things kind of offset. >> Yeah. >> because you're like lining them up here, everything's perfectly synced in line and that's that source sequence. Now, at this point we need to turn this into a sequence and this is surprisingly easy. >> Mm-hm. >> All you do is right-click on it or Ctrl+click and you say that you want to go ahead and create a new sequence from a clip.
And this actually works on any clip now. >> Mm-hm. >> You can just right click and that's gona put everything into the sequence. And there it is, and if we look at that, we see it. I'll double click here to load it, and there's all those angles. >> Yep. >> Now, what we're going to need to do here in a second is do the actual editing. But at this point, everything's synced up and ready to go, and we are set to start the edit.
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