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This course introduces Adobe Premiere Pro CS6, using a project-based approach that introduces video editors to all the skills necessary to cut their own program. Using a short commercial project as an example, author Abba Shapiro walks viewers through a complete and logical workflow that begins with importing media, creating a basic rough edit, and then refining the cut with music and sound effects, transitions, visual effects, and titles. The course also includes troubleshooting advice, such as reconnecting offline media and using the History panel to undo multiple actions.
In this movie we're going to explore how to sync three clips together using something called Timecode. Now Timecode requires specific broadcast cameras, so if you don't have Timecode on your clips, you can go ahead to the next movie where we will be using other methods to sync up your footage. Now I want to point out that clips with timecodes were a little too big to include with a project file, so there is no project file for this lesson, so just go ahead and watch. Now if you do have Timecode, this should look familiar. Let me load each of these clips into my Source Monitor, and as you see, there is a Timecode number or a stamp of the hours, minutes, seconds, and frames when we recorded this.
I'm also working under the assumption that if you're using Timecode you've jammed the cameras together so that they all have matching Timecode. I'll double-click on camera B and camera C, and you can see they have similar timecodes, but the cameras did start rolling at different points in time. The nice thing about Premiere Pro is that no matter when your cameras started rolling or stopped rolling, it's very easy to sync them up using the Timecode that's recorded in the metadata of your footage.
To sync these clips up, it's as simple as selecting all of the clips that have matching Timecode, right-clicking, and saying create a Multi-Camera Source Sequence. When I select that I'll be greeted by a dialog box that asks me to name the sequence. This is really important to understand. When you select the clips, the order that you select them in your Project panel is going to be the order that they are organized in this new multicam source clip that you're creating, and the reason this is important is that your primary audio is going to come from that very first selection.
So whether you have 2 cameras or 100 cameras, make sure you select the camera angle that has the master audio first, and you know you'll have done that because Premiere Pro will try to name the multi-clip after that first selection, in this case Camera C was my best audio, so that's why I chose it. Go ahead and change that to something that's more useful such as Multicam of interview.
Now before you hit OK, switch from synchronize via In Points to synchronize via Timecode. Now if your cameras were jammed but each one has a different starting hour, so you can discriminate between which camera was what, Premiere Pro allows you to ignore the hours part of your Timecode. In this case it's not necessary, but it doesn't hurt to leave it checked. I'll press OK and Premiere Pro now makes a special multicam source clip of the interview.
By double-clicking on this and loading it into my Source Viewer, you can see all three clips are now completely in sync, and I'm ready to start editing with them. Of course, the next step would be to edit, but just in case the Timecode doesn't sync up and your cameras weren't set, I'm going to show you how to sync up your footage using your Clapboard in the next movie, and then later in the chapter we'll get to editing.
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