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Premiere Pro CS4 Beyond the Basics
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Working with multi-camera footage


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Premiere Pro CS4 Beyond the Basics

with Chad Perkins

Video: Working with multi-camera footage

All right, everybody. This, here, is one of the most challenging, and yet also, one of the most rewarding features in all of Premiere Pro. We are going to look at how to do multi-camera editing. Now, this feature is meant for those times when you have multiple cameras going at the same time, so you might have, let's say, for example, a close camera and then also a wide camera as well. And if you want to cut between them, Premiere makes it easy with this feature. However, a lot of people that are using Premiere don't have multiple professional cameras that they are able to use simultaneously for a shoot.
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  1. 4m 11s
    1. Welcome
      56s
    2. What's new in the dot release
      57s
    3. Using the exercise files
      2m 18s
  2. 18m 54s
    1. Capturing ambient audio
      3m 12s
    2. Getting plenty of coverage
      1m 48s
    3. Telling a story with camera angles
      3m 18s
    4. The 180 degree rule
      2m 13s
    5. Framing shots
      3m 25s
    6. Allowing "emotional space"
      1m 40s
    7. Overcranking and time lapse
      3m 18s
  3. 11m 38s
    1. Why is metadata important?
      1m 40s
    2. Browsing and adding metadata
      6m 4s
    3. Creating metadata with Speech Search
      3m 54s
  4. 33m 12s
    1. When to cut
      7m 38s
    2. Avoiding bad edits
      9m 17s
    3. Using emotional cutaways
      1m 53s
    4. Fixing problems with cutaways
      3m 53s
    5. Pacing edits
      3m 49s
    6. Matching action
      4m 14s
    7. The power of suggestive editing
      2m 28s
  5. 26m 31s
    1. Contrasting targeting and selecting
      3m 17s
    2. Copying and pasting clips
      2m 36s
    3. Replacing clips
      4m 8s
    4. Editing to music
      5m 0s
    5. Using sample rate for precise editing
      5m 34s
    6. Creating J and L cuts
      3m 33s
    7. Working with subclips
      2m 23s
  6. 11m 17s
    1. Ingesting media
      1m 39s
    2. Examining P2 file structure
      1m 31s
    3. Importing P2 files with the Media Browser
      5m 15s
    4. Converting DVCPRO HD to standard 720p
      2m 52s
  7. 38m 11s
    1. Using the Reference Monitor
      3m 0s
    2. Using scopes
      8m 33s
    3. Primary color correction
      10m 11s
    4. Secondary color correction
      8m 28s
    5. Creating a vignette
      2m 28s
    6. Creating a day-for-night shot
      5m 31s
  8. 37m 19s
    1. Censoring video
      5m 30s
    2. Creating a waving flag
      6m 5s
    3. Creating a lens flare
      3m 36s
    4. Creating background textures
      6m 19s
    5. Playing with time
      6m 4s
    6. Using transition effects
      6m 13s
    7. Working with presets
      3m 32s
  9. 15m 30s
    1. Creating a garbage matte
      3m 56s
    2. Removing green screen
      5m 6s
    3. Compositing with blend modes
      3m 32s
    4. Nesting sequences
      2m 56s
  10. 15m 27s
    1. Creating 3D reflections
      5m 0s
    2. Creating growing vines
      5m 52s
    3. Creating a track matte
      2m 39s
    4. Using the History panel
      1m 56s
  11. 42m 25s
    1. Censoring audio using bleeps
      5m 16s
    2. Understanding sample rate
      3m 0s
    3. Normalizing audio across multiple clips
      5m 7s
    4. Recording audio
      2m 24s
    5. Removing audio problems with Soundbooth
      5m 43s
    6. Working with VST plug-in effects
      2m 3s
    7. Mixing audio
      8m 20s
    8. Changing volume over time
      5m 22s
    9. Working with surround sound
      5m 10s
  12. 23m 52s
    1. About this project
      2m 26s
    2. Performing preliminary edits
      2m 35s
    3. Working with multi-camera footage
      7m 27s
    4. Creating a visual "stutter"
      3m 12s
    5. Adjusting color
      8m 12s
  13. 6m 28s
    1. Transferring projects to another machine
      3m 24s
    2. Removing unused footage
      3m 4s
  14. 25m 46s
    1. Choosing a format
      5m 35s
    2. Understanding spatial compression
      2m 5s
    3. Understanding temporal compression
      4m 19s
    4. About HD standards
      5m 46s
    5. Changing footage interpretation
      2m 17s
    6. Getting the film look
      5m 44s
  15. 27m 10s
    1. Working with After Effects
      5m 56s
    2. Creating titles in After Effects
      5m 39s
    3. Working with Photoshop files
      2m 29s
    4. Working with Final Cut Pro
      2m 2s
    5. Working with OnLocation
      3m 12s
    6. Working with Encore
      4m 27s
    7. Introducing Adobe Story for pre-production
      3m 25s
  16. 15s
    1. Goodbye
      15s

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Premiere Pro CS4 Beyond the Basics
5h 38m Intermediate Dec 03, 2009

Viewers: in countries Watching now:

In Premiere Pro CS4 Beyond the Basics, Adobe Certified Instructor Chad Perkins explains how to take video editing from simple nuts and bolts to an art form. He shares tips for shooting video in the field to get the most from a subject and get the best footage for a project. He demonstrates how to build a project through the careful use of cutaways, pacing, and suggestive edits. He covers special effects, color correction, and keying and compositing, integrating all these concepts as he builds a music video project from scratch. Exercise files are included with this course.

Topics include:
  • Working with P2 media
  • Keying compositions using garbage mattes and green screen
  • Using transition effects, lens flares, and 3D reflections
  • Compositing with blend modes
  • Understanding spatial versus temporal compression
  • Recording, mixing, normalizing, and fixing audio
Subject:
Video
Software:
Premiere Pro
Author:
Chad Perkins

Working with multi-camera footage

All right, everybody. This, here, is one of the most challenging, and yet also, one of the most rewarding features in all of Premiere Pro. We are going to look at how to do multi-camera editing. Now, this feature is meant for those times when you have multiple cameras going at the same time, so you might have, let's say, for example, a close camera and then also a wide camera as well. And if you want to cut between them, Premiere makes it easy with this feature. However, a lot of people that are using Premiere don't have multiple professional cameras that they are able to use simultaneously for a shoot.

So, what the good folks at Adobe have done is they have made it so that you can use this feature even if you used one camera. You just have multiple clips, up to four clips you want to use, and you don't necessarily have to have the same camera. So, I didn't have multiple cameras on this shoot. This is the same camera just two different takes. And then I also have some other footage in there of, like, this crane in Seattle and also of this time lapse graffiti and I want to be able to cut between them as if I had multiple cameras and I want it to be done in an easy way.

So, that's what we are going to look at here and it's a very tedious process, but again, the pay-off is pretty big. So, the first step is you have to add all of your different cameras on different video tracks, again up to four tracks, different video tracks here and audio tracks. The second thing is you have to synchronize the clips. The way that we do this is by adding numbered clip markers and then synchronizing those clip markers. So, I have already done that for you on the different clips here. I have synchronized in the audio clip, where it says time, and then I have also gone through the video clips here and I have synchronized where they say the word 'Time' and put a marker there.

So, that we can sync up those clips and that is tantamount. And if you actually have multi-camera footage then you probably have like a clapper of slate or whatever that you can sync all the clips to and that makes it really, really easy. But on a multi-camera shoot you might not have done that and it might be a little bit more challenging to sync video. Now, I have done all of the clip markers for you, except for this last one that we could do ourselves here and since this is just graffiti, and we are just going to kind of cut to this as B role, we don't really need to take consideration as to where to put that marker.

So, I am just going to select the clip, go to Marker>Set Clip Marker>Other Numbered and I am just going to set the Numbered Marker to zero, just so that they all have the same number clip and click OK and there we go. Now what I am going to do is I am going to click-and-drag a Marquee around all of these clips, so that they are all selected and I am going to right-click and I am going to choose Synchronize. And then under the Synchronized Point, I am going to choose Numbered Clip Marker zero and click OK. So, now that makes it so that all of the clips are lined up and again, this is a huge, huge step because as you're cutting back and forth from camera to camera, you want to make sure that all of those things are lined up and what's kind of cool about this is if you are just having a random video, you don't really need to sync things, it doesn't really matter where you put the Numbered Clip Markers.

So, let's say for example, you're shooting a commercial. You're editing a commercial and in the commercial you have a bunch of different clips of people enjoying the product and that may not be necessarily important where in order those clips show up. You just want to able to cut to them quickly and easily and so you can still use this feature for something like that and in that case, setting up these clip markers would be very easy. So, that's the first step, synchronize the clips. The next step, it gets even more weird, and so I need to create a brand-new sequence and I am going to make sure this is HDV 720p24 because that's what our original sequence was.

And I am going to call this Master Sequence, hit OK and then, are you ready for this? I'm going to nest the multi-camera sequence that we were just working with inside of this master sequence. So again, this multi-camera sequence is now a clip inside of this master sequence. Now, I am going to right-click on the clip and I'm going to choose Multi-Camera Enable. Now it's enabled as a Multi-Camera clip and it even says Multi-Camera, right there.

Now, what's kind of cool is that I could scrub in time and I can right-click and go to Multi-Camera and I can choose which of the cameras or in other words, the tracks from nested composition, which one of the cameras I want to look at. So, I could right-click and there is the crane footage. And I could right-click over the Multi- Camera, Camera 3, right-click and so forth. Now, I am going to go back to Camera 1 here. So, that's kind of cool. You can change different cameras by right-clicking on it. But the real magic of multi- camera editing is found by going to Window>Multi-Camera Monitor.

This is a good stuff folks. Let me tell you. You'll see here that we have these four clips and these are the four different 'Cameras' and what's really cool is that we perform out edits simply by clicking on one of those clips. As soon as I just clicked on that crane clip and there was a cut made right there for us already, just by clicking. Well, this is a very cool way to cut video, because all you have to do it just click on something and it makes the cut.

Well, what's even better is that we can do this in real time in the Multi-Camera monitors. So, I am going to undo that cut by doing Command+Z or Ctrl+Z on the PC, back this CTI up a little bit and then what I am going to do is I am going to hit this Record button. So, we hit Record and then now it's recording all of our changes and I can hit Play and then as I am playing this back, I am going to click these different boxes to make my edits and I can edit this in time or however else I want to edit it, very quick or whatever. It's just a very, very fast editing process. So, watch this.

(Music playing.) Okay, that's good enough, click Stop and then I will close the Multi-Camera monitor and you could see the cuts that we made. It was so quick and easy. We didn't have to go to the end frame-by-frame. We could do it very organically and click it with the rhythm, to cut to the rhythm. And now let's see what we have. I'll hit Home key and then we'll preview this.

(Music playing.) Pretty cool stuff. And of course, we can go in here with the regular Edit tools now, like the Rolling Edit tool and we could move these cut points around, if we wanted to, or we can go in here with the Regular Selection tool and move these clips, or trim them as Normal, or what have you.

But the point is is that we could edit this using the Multi-Camera Monitor in a very quick and organic way. Yes, it's a tedious, painful setup, but once you get it going, it allows you to cut again, in a very organic, quick way.

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