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Meet Adobe Premiere Pro, and learn the skills necessary to professionally edit video. Abba Shapiro first introduces a "fast track" approach to Premiere that shows the entire import to output process in eight quick steps—ideal as an overview for new editors and a preview of the new features in CC that experienced users will want to see right off the bat. Then transition to the expanded 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 information on exporting and archiving projects, as well as advice for becoming more efficient in Premiere with actions, keyboard shortcuts, and other workflow enhancing tricks.
In this video, we're going to learn how to sync up our cameras if we don't have the luxury of time code, or camera flash, or a clap board, or any way to identify what goes where other than the sound that's recorded on the media. So what I want to do is select all of my cameras, and as I said in the earlier videos, it is important that you select the cameras in the order that you want them to appear for your angles. Now I want to make sure camera one, which is my wide shot and also has my cleanest audio is my primary camera.
So I'm going to hold down the command key on a Macintosh and simply select them in the order that I want them to be. Once I've done that, I will right click on them and I will choose to create a multi-camera source sequence. I could go by in-point and out-point but I actually don't have any in-points, so we'd just use the beginning of the clip. Since all these cameras started and stopped at different points, using in or out-points would only throw them out of sync.
I can't use time code because three out of four of these cameras actually don't have time code, and it would again throw the cameras out of sync. And of course since there's no clip markers, I can't use that either. But what I can use is the audio wave forms as long as each camera has recorded some sound on the media. As a matter of fact, the cameras could have started and stopped throughout the entire process, and I can still line them up by the audio wave form. So for instance, if you were shooting a concert, all of your cameras could be stopped, are paused between songs or sets.
Now I'm ready to sync them by audio. I'm leaving all my other settings at their default including sequence settings going to camera one, and all my audio channels to be automatic. I press okay. And Premiere pro will actually analyze all the wave forms and very quickly create a multi-cam clip. So, if I double click on this to load it into the viewer I can scrub through it to look at my footage. Now, the reason we don't have any cameras here is because they haven't started rolling yet. So Premiere Pro simply puts black in when there is no camera rolling. And as you see, if I played this, it will all be in sync, just because I had audio on each of my sources.
And at the very end the cameras all stopped at different times and you'll notice that as they get shut off those individual elements will disappear. So now that we've created a multicam clip with our audio waveforms we're ready to start editing multicam...
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