This is kind of a big one. In this video,
I’m going to tie a lot of different things together. We’re going to talk about multicam
with anamorphic lenses, shooting to ProRes RAW, connecting with externally recorded audio,
and iPhone video, all of which is tied together with timecode, and then we’re going to take
all of that and push it into Premiere Pro. Yeah, let’s get into it.
If you saw the “movie car scene” that I shot a month or so ago, then, this is what
went into it — I’m going to be explaining all the different pieces that went into that
shoot and we’ll talk a little bit about that shoot as we go as well, but let’s get
through all the different pieces of hardware that goes into it.
So, first off, I said “multicam” and that’s going to be obvious as we add multiple cameras
into this but one of the next big things is ProRes Raw. So, let’s start by talking about
camera choice. To record in ProRes RAW, we need a camera that can output RAW video. I
am a Lumix ambassador, so, I am using the Panasonic Lumix cameras. In the case, I did
this shoot with the Lumix BGH1 but this isn’t the only choice. We also have the new Lumix
BS1H, which is another great camera for this, or any of the S series cameras will work as
well. Of course, Lumix cameras aren’t the only
ones that output RAW but these are the ones that I’m working with. Okay, so we’ve
got a camera that can output RAW. Now, let’s put a lens on it. The lenses that I’m working
with for this project are the SIRUI Anamorphic lenses and these things are beautiful. These
are the new Micro Four Thirds anamorphic lenses and can see that they have gearing on them
to be used in a rig with a Follow Focus system and I just absolutely love these lenses.
So, these are the lenses that I use for this project so let’s go ahead and put this on
to the camera. Next we’re going to talk about RAW capture — how do we capture ProRes
RAW. Well, to do that, we’re going to use the Atomos Ninja V. You could also use the
Ninja V+; the Ninja V is what I’m using here. So this device will allow us to capture
the RAW to ProRes RAW, but before we put that onto the camera, let’s talk about another
piece of this; timecode. To add timecode into this, I’m using something
called the AtomX SYNC. Now, the AtomX SYNC is a module that attaches directly to the
back of the Ninja; in fact it attaches between the recorder and the battery, so let’s get
a battery… that goes between the recorder and the battery. So, we’ll get that on there
and this timecode device can be both a transmitter and a receiver. It can be the server or it
can be part of the network. We’ll get into configuring this in just a moment but the
next thing we need to add is something to record to.
I’m using the Angelbird SSD cards. This is the AtomX card which is custom designed
to fit within the Ninja V. So, slide that into place. So, now I’ve got my RAW recorder
with timecode and the SSD. Alright, let’s get this thing onto the camera.
I’m configuring this pretty simply. I’m going for kind of a minimalist setup here
where I’m just mounting the monitor directly onto the camera. For the production that I
did though, whenever I was hand holding it, I actually mounted the whole thing into a
cage. This allowed me some more options like the handle on the top, the follow-focus gear
system, and so on but for now, I’ll just make it simple.
To output the RAW signal from the camera into the Ninja, we’re of course going to need
an HDMI cable and you can’t just use any old HDMI cable; you need a good one. You need
something that is rated at 18 gigabits, that’s going to give you the data transfer speed
to get that RAW data into the recorder. All that’s left is to put a battery on the camera
and we’re ready to go. Alright, let’s fire this up.
With the Ninja connected, I’m going to jump into the camera’s menu system and first
let’s check the frame rate and size that I’m currently set to. We’ll go down to
the Record Quality and you’ll see here that it’s set to cinema 4K at 24P. This is one
of the compatible outputs for Raw. So, when I set it to that and switch over to Raw, it’ll
maintain the same settings. Then, I simply go down to the next page where I’ll find
the HDMI RAW data outlet. I’ll go ahead and turn that on and at this point, the Ninja
is going to sense the RAW signal and offer to reboot.
Here it is, RAW signal detected and we’ll go ahead and hit okay. The Ninja reboots and
now it’s in RAW recording mode. At this point, there’s actually nothing to set up
for RAW. All the settings that are required are transmitted over the metadata and the
recorder knows exactly what to do. But I’ll show you the settings.
If I go into the recording input, we can see that the source is over HDMI and it’s 4K
at 23.98. The camera is identified as a Panasonic and the Gamma and Gamut are both set to Panasonic
Raw. So everything we need for RAW capture is already set. The recording format also
already set to ProRes Raw. We can see that under the record menu and you’ll see that
it’s set to ProRes Raw. If I try to switch it back to another format,
it wouldn’t let me. Alright, now that the camera is configured for shooting ProRes Raw,
let’s talk about timecode. I’ve already got the timecode device on here. So, let’s
take a look at its settings which are also controlled from within the Ninja’s interface.
I’ll slide over here to Sync Config. That’s the AtomX SYNC device and from here, you’ll
see that we have a few options; this device can be either a server or a client. In this
case, I want it to be the server. I can choose channel it’s on and of course, every other
timecode device on the network needs to be on the same channel, so I’ll go ahead and
set it to channel six. There’s an option over here called Record Control that is really
cool. This allows me to trigger recording in other Ninjas with the AtomX SYNC device
attached from this Ninja, meaning, if I have let’s say five of these all in sync and
I tap record on this one, it’ll trigger recording on all the others as well. And of
course when I hit stop, it’ll stop them all too. Pretty slick.
And finally, I’m ready to start the network. I can choose where it’s getting the timecode
from here and we’ll see that it’s set to time of day, so I’ll go ahead and set
it to that. So now the hardware is set to time of day timecode which is getting from
the clock that I set in the Ninja V and it’s all ready to go.
This device is set, let’s get this one out of the way and we’ll add another recorder.
I’m going to take another Ninja V, another AtomX SYNC and another battery and get this
fired up. Now I’m ready configure the second Ninja. I’ll tap on the timecode window and
then tap on Sync Config. That’s to configure the Atomic Sync device that’s connected.
You’ll see the Network Role is set to server. I’ll change that to Client. The channel
is set to 5. It needs to be 6, so, I’ll fix that and then I’ll tap on Join Network.
Just like that, it’ll find the network and there it is; it’s already connected. If
I close this out, we’ll now see the same timecode on this device as we have on the
other one. So now, this one is all ready to go. We’ve
got our second recorder, the first recorder all set and ready. Okay, there’s no camera
on there but obviously you’d fix that. Now, we’re ready to integrate the other devices.
Now, there’s a few different ways we can go about doing this. I have something here
called the UltraSync ONE. The UltraSync ONE is a tiny little timecode
box that can be both a transmitter and a receiver. In this case, I would set it up as a receiver
and then connect this to any other device on my network that has regular timecode inputs.
You see your small timecode output cables here. You just plug that into whatever camera
or recorder would have it but in this case, I’m going to be using things that don’t
have direct timecode input, but do have Bluetooth support.
So instead of this, I’m going to use the UltraSync BLUE. The UltraSync BLUE is a dedicated
timecode device that transmits its timecode over Bluetooth. Now, truth be told, the AtomX
SYNC itself will also transmit Bluetooth, meaning that I can connect any Bluetooth device
to it instead of having to use a separate device like this one but here’s the limitation
of doing that. Bluetooth has very limited range and any device that you connect to it
is not going to be a dedicated timecode device which means it’s not going to have a quartz
crystal inside of it which means that it’s not going to have the most accurate long-term
timecode sync capability. It’s going to drift after a little while.
Now, we could be talking about hours here but at the end of the day, it could drift.
So, what you want to do is not have your Bluetooth devices get too far away for too long from
the transmitter. Well, that’s where this comes in. By having this tiny little device
and then using this to Bluetooth connect all the other devices to, this can go wherever
those go to. Does that make sense? Let me show you what I mean.
I’ll start by getting this connected to the network just like I did that recorder
there. I’ll power it up and I want to make sure it’s set to the same channel. So, let’s
go down to the RF settings and set that to channel 6 and just like that, it is going
to now find the network and connect to it. In fact, we can check to see if these devices
are on the network by looking at the status of the network on the original device.
If we look on here under the Sync Network, we’ll see camera C, that’s the second
Ninja that I configured and then Blue0080, that is this little guy right here. So, so
far, everything’s on the network, alright. Now let’s connect some other hardware to
this. We’re going to start with the Zoom F6.
The Zoom F6 is a multi-track field recorder. It has six XLR inputs on it and has a Bluetooth
module so it can connect to the Bluetooth transmitter in here. Let’s see how to configure
it. I’ll power it up. Go into the menu. Navigate down — not to timecode, which is
where you might think you would go, but we actually have to go into the system settings
and connect over Bluetooth. So we’re down to system, Bluetooth and then
timecode. I’ll go ahead and hit okay on timecode and hit Connect. And then here, I’m
going to go into the Bluetooth pairing menu and just let it search. There it is. It has
found the F6. So now we’ve got our audio recorder linked up by a timecode with this.
Great. Now let’s get another audio recorder on
the network. I’m going to use this little guy, the Zoom F2-BT. This is a tiny little
field recorder that comes with a lavalier mic, (also has a headphone port, really handy),
that records internally. So, it’s not a transmitter; it just records internally to
a micro SD card but that can also be added to your Bluetooth timecode network.
Now, to configure this, you actually have to connect it to a computer to start. I’ll
start by connecting this to USB and powering it on, then I’ll fire up the F2 editor on
my computer. This is an app that you download from the Zoom website. Once it sees the F2,
the one control we’re concerned with is right here, the Bluetooth function. By default,
it’ll be set to “F2 Control”. We want to switch it over to timecode. That is telling
the device to use its Bluetooth protocols for timecode.
So, all we have to do is enable that and then if you’re connecting to a new device, you
might want to click on Forget Device so it forgets any previous devices it was connected
to. At this point, that’s actually all you have to do. There’s other settings in there
you might want to play with, but this is it. When I disconnect the hardware it’s going
to automatically go into pairing mode. There’s not much of an indicator that this is happening,
but that’s how it works. So, I’m going to go ahead and get the BLUE ready to start
pairing… and then disconnect this… and within a couple of moments, we should see
the F2 appear on the BLUE’s screen. There it is, the F2… we accept that and now the
two devices are in sync. Since there’s no timecode display on the
F2, the only indication that you have that it is actually connected is this little blinking
light here. You see that these two lights are in sync. The little light above the off
switch there — that is the one that is indicating to me that they are in sync. As long as they’re
flashing at the same time, we know they’re talking to each other. Of course, you may
want to do a test recording before you go on production to make sure that it actually
has the timecode but that’s what it takes to set that up.
Okay, the last thing that I want to connect is my iPhone. I mentioned using the iPhone
video to incorporate with this production, so that’s what we’re going to do using
an app called Mavis. Let’s check this out. In the Mavis app, if I go into the settings
and scroll down a little bit, you’ll see timecode. With timecode selected, scroll down
some more and you’ll see UltraSync BLUE/AtomX SYNC. Tap that and it immediately goes into
pairing mode. Now, all I have to do is go into the BLUE,
go back to Bluetooth pairing, and it’s going to find that pretty quickly. There’s the
iPhone. Confirm that. And you can see here that the iPhone is now connected to the network.
Let’s go back out of the settings and we’ll see the timecode now matches between the two
devices. Now remember, this is an anamorphic production,
so we need an anamorphic lens on the iPhone. For that, I’m going to use the Moment anamorphic
lens. We’ll slide that on, pop off the lens cap and there is anamorphic beauty on an iPhone.
This is just the iPhone 12 but the new iPhone 13 shoots ProRes. So now you’ve got a device
that can shoot anamorphic, timecode synced, ProRes… on an iPhone in your hand. That’s
pretty awesome. Alright everything is set up. Let’s go back
to the camera here and just take a quick look at the screen. I want to verify that everything
is in here. So if I go to my sync network, we’ll see everything listed. Starting at
the bottom there’s camera C, that again is the second Ninja that I had connected.
There at the very top is the BLUE, that’s the Bluetooth device and we can even see the
additional Bluetooth components on the network through here. So we see the F2 the F6 and
the iPhone all listed here on this display. So now we’re ready to shoot our test. We’re
not going to actually shoot it here what we’re going to do instead is jump into a time machine
and go to the other side of the world, to Europe, where I was when I recorded a test.
So, while you’re doing that little time travel and watching the test that I did I’m
going to clear the desk here and set it up for our editing session. So, fancy time machine
noises and I’ll see you in a second. I’ll start recording on the Lav on the Zoom
F6 with the boom mic, I’ll start recording on the iPhone and with Record Control turned
on, I can start recording all the Ninjas at once with one touch. And just like that, all
devices are recording all with timecode. Camera A, camera B, camera C, camera D, the lavalier
mic, and the Boom mic. Let’s get these files into the computer and check them out in Premiere
Pro. Hello and welcome back. I hope you had a lovely
trip. So, let’s get into editing, but before we start editing, let’s look at the hardware
that I’ve got set up here. First of all, you’ll notice that I’m editing on a MacBook
Air. This is an M1 MacBook Air not the new M1 Pro or M1 Max, MacBook -MacBook Pro M1
Max. They gotta do something about the name! This is just the M1 MacBook Air.
Now, it’s not the most powerful editing machine in the world but you know what? It
does a pretty darn good job. So, that’s what I’m editing on today but because this
is a relatively small screen, I also have over here an external monitor for editing.
This is my Atomos NEON 17 inch reference monitor and this is a thing of beauty.
This is a relatively small and portable machine. There’s actually a flight case you can get
for this that holds the stand and all the parts in it beautifully, but this is going
to allow me to have a reference grade monitor on the road with me. Now, this monitor at
17 inch is an HD resolution but it does input 4K if you’re working with a 4K interface
and it provides an HDR experience if you’re editing in HDR. So this is an absolutely gorgeous
monitor to have on the road or in the field. Now between this NEON display and this M1
Mac is the Blackmagic UltraStudio Monitor 3G. Now that tiny little piece of hardware
there is the interface between these two devices. It is Thunderbolt from the Mac into the UltraStudio
and then HDMI or SDI into the NEON. Now you’ll notice that I am running it over SDI here
and there’s a good reason for this. When you’re running it with HDMI, you’re limited
to a 1920 wide resolution; that’s full HD. However, this project was shot in DCI 4K,
that’s 4096 wide. And I’m going to be editing it in 4096 wide.
However, if I edit in 4096 and preview an HD, I’m only going to be able to see 1920
wide at once which is actually going to crop the edges of the scene off. However, if I
connect the SDI cable, then I get full 2K DCI or 2048 pixels wide, so, half the resolution
of that 4K DCI. By going over SDI I’ll be able to monitor the full width of the shot
on the Atomos NEON reference monitor. So, that’s my hardware setup.
Finally, I have over here the BBRCU. This is a remote control unit for the Neon. This
is not required but it certainly does add a level of convenience, having these physical
buttons here to access the monitor when you need it. If you’re not using that, then
you can control the monitor on an app on your phone or on the Mac. This is the app on the
Mac. You can see here that I have full control over the input; which input is being used
whether it’s SDR, HDR, and so on. I can look at the monitor settings here, I can add
a LUT, change the brightness settings and so on and if we go back here, I have full
control over all of the settings in the monitor, but all these buttons down here can actually
be controlled over the BBRCU if you want to. Alright, let’s start editing. I’ve already
copied all the footage onto the computer. So, let’s take a look at what those clips
are. I’ve already organized and renamed these. So, there’s camera A, B, and C. Those
are the shots from the BGH1 with the SIRUI anamorphic lens captured on the Ninja V into
ProRes Raw. This last shot, camera D was from the iPhone
with the Moment anamorphic lens and then up top we have our audio. There’s audio A which
is the Lav recorded to the Zoom F2 and then audio B, the Boom mic recorded to the Zoom
F6. So all those shots are already in the computer. Now let’s bring them into Premiere
to start putting them together. I’ll create a new project. We’re just
going to call this Atomos Demo. Click OK, leaving everything at the default settings.
I’ll start by importing my media and I’m going to go ahead and select the folders — audio,
and video — that way I keep everything organized the same way in Premiere as I had it in the
Finder. There’s my shots and there’s camera A.
Let’s start with this. Right away, you’ll notice that there’s two things that need
to be addressed. For one, it’s distorted. Remember, we shot this anamorphic so that
means I have to tell Premiere what aspect ratio I shot it in. Second, it appears to
be extremely overexposed. It’s not, it’s just because it was shot RAW and by default,
Premiere has applied a Rec.709 look to that. So, we’re going to go in and change the
color space from Rec.709 to V-Gamut V-Log for this Panasonic footage but let’s start
with the aspect ratio. All four of these shots need the same treatment.
So, I’ll select those, right-click, go to the Modify menu, and then, Interpret Footage.
From here, I have a pixel aspect ratio option which by default of course is square but I
can set that to whatever I want depending on the lenses that I used. In this case, what
I’m looking for is the number and right here, it’s 1.333. That matches the 1.33
distortion of the SIRUI anamorphic lenses. Click OK and we’ll see that footage corrected.
Now, depending on your hardware and software configuration, you may or may not be getting
the correct aspect ratio sent out over the interface into the monitor. In this case,
I’m not seeing it, so I’m going to go ahead and correct that and I’m going to
do that in hardware by going into the F3 mode here and then pressing on the Anamorphic Distortion
mode until I get to the 1.33X anamorphic distortion on the monitor.
This is a fantastically powerful option. This means that I can take this monitor into the
field as a reference monitor while shooting anamorphic footage and preview the anamorphic
footage correctly distorted on the monitor for the director, or whoever might be watching
it. This is awesome but let’s get back to editing now.
Next, let’s correct this apparent over-exposure. I’ll go into the effects controls and from
here you’ll see under ProRes RAW Source Settings that the color space is currently
set to BT.709. I want to change that to V-Gamut/V-Log and as soon as I do, we’ll see that image
corrected both in Premiere and on the NEON reference monitor. What we’re looking at
now is effectively log footage. We still need to do some color correction
or add a LUT to it but we’re no longer in that apparently highly over-exposed RAW space.
So now, we’re just basically looking at log which means the next step is to add a
LUT to this. Now, you can add a standard Rec.709 LUT or you can add a creative LUT if you have
one that goes from log to your creative look. Most likely, you’ll go from log to Rec.709
and then from Rec.709 to your creative look but of course, that’s entirely up to you.
In this case, I’m going to go ahead and install the generic standard LUT from Panasonic
that is designed to go from log to Rec.709. Now that LUT is not included in Premiere,
let me show you how to get that. First of all, under the color tab, you’ll see that
under the LUT input, I have a variety of LUTs to choose from but Panasonic is not on that
list. To find that LUT, you can just do a Google
search for “Panasonic LUT log to Rec.709” or I’ve also included a link down below
to where you can download that from the Panasonic website directly. I’ve already downloaded
that, so to load it, I simply go to browse, locate that downloaded folder and select the
.cube file. Open that and it applies it and there you can see the footage now looks like
Rec.709. I want to add a little bit more contrast to
this though, so I’m going to go ahead and add some curves to this. I’ll go to the
Curves menu just pull the shadows down a bit, pump up the highlights a touch, and there
I’ve got a really good base look. I want to apply the same base look to the other RAW
shots that I did. So, to do that, instead of having to repeat this process, I’m going
to save presets. Now, I am going to have to save two presets;
one for the Lumetri panel where I added the LUT and also added the curves and another
one for the Effects panel where I made the color space conversion. So, let’s start
with Lumetri. I’ll go here to the hamburger menu and choose Save Preset. I’m going to
call this one “RAW Log to 709” and click OK then I’ll go to the Effects controls
and under ProRes RAW source settings, I need to click here. Not up on the hamburger menu
under effects controls but right-click right here right next to where it says ProRes RAW
Source Settings and choose save preset and this one I will call “ProRes RAW to log”.
Tap OK and there we have both presets. Now let’s go to the Effects tab, I’ll
search for RAW to find the two presets I just created then go back down to my video folder,
select clips B and C — not D because remember, that came from the iPhone so it doesn’t
need any of this work — just B and C and then take these two presets and drag and drop
them both on at once. Now, if I preview this, you’ll see that
it has the correct aspect ratio and the LUT applied to it. Okay, this shot as well as
shot number C both have an odd white balance to them. I blame the DP on this, he clearly
didn’t know what he was doing, so I’m going to go ahead and make some quick corrections
in here — I’m not going to worry about making it super accurate, but I’ll just
go ahead over to the Color tab, go to the Basic Corrections and let’s just cool this
shot down a bit then I’ll take camera C and cool it down a bit as well - and how about
I take camera D, the iPhone one, let’s take a quick look at that. It looks like it could
use a little bit of cooling too as well as a little bit of an exposure boost.
Again, I’m not really trying to make the match right here just trying to make them
look a little bit better. Okay, all of my four video clips are ready to go - A through
D, but I’m not ready to make them multicam quite yet. Let me jump down to audio first
and take a look at these. Here’s the audio off of the lavalier mic… “and just like
that, all devices are recording”… and here’s the audio from the boom. Whoa! Where’s
the audio from the boom? Well, here’s the thing, the boom mic was
set pretty far away and I didn’t really set levels on it properly. So, what it recorded
is barely visible on the waveform monitor. However, this is recorded to the Zoom F6 which
records in 32-bit float, which means I have an immense amount of wiggle room to recover
my audio. Now, it’s still not going to sound great
cuz the boom is really far away, that’s not the point, but let me show you what I
can do with this. Starting off here, we see almost nothing in the waveform monitor and
of course, if I play that back – “And just like that, all the -“
You can barely hear anything at all. However, if I right-click on this and choose to change
the audio gain… I’m going to adjust the gain by a whopping 32DB, hit OK and there’s
the waveform. “And just like that, all devices are recording.”
Great. So now we’re ready to make that multicam clip. But first I’ve got a tip for you.
When you select all the media to make the multicam clip, the audio that you select the
media in actually makes a difference. The first clip that you select will define the
project size and frame rate for the sequence that will get made.
Now if all of the video is identical, then this doesn’t matter but in this case, it’s
actually not because all the footage that came off of the BGH1 with the Ninja V was
shot DCI, so that’s 4096 pixels wide. However, the shot that came off of the iPhone was simply
UltraHD, only 3840 pixels wide. So, I don’t want the whole project to end up at 3840,
I wanted it full DCI so I want to make sure that I select my camera A first. So I’ll
go ahead and select camera A and then select the rest of the video clips and then audio
A and B as well. Right-click and choose Create Multi-Camera Sequence.
Incidentally, if I’d selected the wrong clip first, I can override and choose whatever
sequence preset I want here. Let’s go ahead and give this a name. We’ll just call it
Multicam and then we’ll set the sync point. The sync point is going to be set to timecode
because of course, remember, we have timecode on all of these clips which makes synchronizing
them super easy and super accurate. Next, my audio. Under audio, I have three
options; Camera One, All Cameras, and Switch Audio. I want “Camera One” but let’s
first talk about what the others are. “All Cameras” will use all the audio from all
the cameras while “Switch Cameras” will switch the audio with the camera as you switch
your multicam angles. That’s not what I want. But I also don’t want the audio from
camera one. What I actually want is the audio from the separate audio recordings.
Well, when you select Camera One, if Premiere sees audio from separate recordings, it’s
smart enough to know that you actually want the audio from those other recordings. It’ll
go ahead and disable the audio on all the video tracks and choose to use just the audio
on those original recordings and you can of course change that at any time if you need
to but that’s how it’s set by default. Alright, let’s go ahead and leave that at
Camera One, click OK and there’s the multicam. I’ll double click on that to open it up
here as a preview and here we can see all four of those angles and then I’m also going
to right-click on that and choose to open this in the timeline.
Now we can see the entire project. First, there’s the audio from the lav. That is
what starts first because that’s what I hit record on first. Then, there’s the audio
from the boom mic and then, there is the iPhone footage and then all three of the shots that
came off of the Ninjas. So, all of our footage is there and ready to go but there’s a little
bit of a problem with the iPhone footage. Look up here. You’ll notice that the iPhone
shot, camera D over here, has pillar boxes on it. That’s because, once again, this
is only 3840 wide and it’s now sitting on a 4096 sequence.
So, do I want to scale everything down to match that or scale the iPhone footage up
just a tiny bit to make it match rest of it? I’ll go with scaling up. It’s not much
of a scale and we’re not going to use that shot much so I’m going to go ahead and scale
that up. To do that, I’ll double click on the camera D iPhone clip here, go to the Effects
Controls, select it in the multicam and then go to scale and I’ll type in “107%”
‘cause that’s all it’s going to take. Now, if I go back to the multicam view, you’ll
see that that is now filling the canvas there. Next, I want to make an audio setting change
to the multicam itself because remember, we have two different audio tracks in here and
the software doesn’t know which one is the priority; which one I want to use. Currently,
both are active but I don’t want both of them, so let me show you how this works.
I’ll go to multicam, select that and choose Modify Audio Channels. Here we have clip one
and clip two, those are our two audio tracks — the lavalier at the top and the boom mic
here at the bottom. I don’t want the boom, so I’m going to go ahead and just turn that
off for now but in fact I don’t even want two clips to contend with; I really only want
one at a time. So, I’ll enter one right here and now I
just have this one audio clip and at any time I can go in here and switch whether it’s
using the lavalier or the boom mic. So, I’m going to leave it on the LUT for now but we’ll
see how this comes into effect for the boom mic later on. In this type of a situation,
you might be using the boom mic as a safety track. You’ve got a lavalier on the talent,
I got a boom as a safety in case there’s some kind of a clothing rustle on the boom
mic, we’ve got a safety track to go back to — or whatever your situation might be.
Okay, that multicam sequence is now finally set up and ready to go. To ensure that I have
the exact same settings that started from the original clip, which are now in the multicam,
which I now want to make sure in the sequence, I’m going to create the new sequence by
simply dragging that multicam clip onto the “New” button like this… I’ll go here,
drag this on to New and it creates that new project for me.
Let’s zoom into that a little bit and we can see here the entire project. Now, you
can see from the waveforms here that I did two different takes on this. I know it’s
the second take that I want, so I’ll put the play head at the beginning of the second
take, tap the Q button on the keyboard to cut off the first part of that and then I’ll
put the play head at the end of that take and tap the W to trim the end off of there.
And now finally, we have our footage that we want to edit from.
So, how do we go about seeing all the different camera angles at once? Well, for that, we
need to actually first add a new button to the toolbar that’s not there by default
to enable the multicam view. Here’s how you do that. I’ll first switch over to the
editing tab and then over here under the program monitor, I have a plus button. If I open that,
you’ll see that I’ve entered the button editor.
The first button that I want to add is this one called Toggle Multi-Camera View. I’ll
go ahead and drag that down onto the button bar and the second one is this Multi-Camera
record. I’ll go ahead and drag that down as well. Click OK, and now when I enable the
multicam view, we’re going to see all those angles at once. Let’s go ahead and make
this a little bit bigger so we can see all them clearly and I’m finally ready to edit
my multicam. To start editing, I hit that Record button
and then hit Play. While it’s playing, I’m going to use the keys on the keyboard — one
through four to switch between camera angles one through four. Once we’re done, we hit
Stop, recording automatically stops and we can go back and re-edit as needed. Let’s
do it. I’ll enable record, put the play head at
the beginning, tap Play, and off we go. “And just like that, all devices are recording,
all with timecode. Camera A, camera B, camera C, camera D, the lavalier mic, and the boom
mic”. And there our edits are in place. As I scrub through here, you can see all the
changes that were made. If I made a mistake, let’s say right here I didn’t really want
this to be on camera three, but instead I wanted it on camera two, I’ll go ahead and
make that change and now it changes over from camera four to camera two, and then back to
camera one. And finally, remember I have that boom mic
track, so how do I select that boom track if I need it? Well to do that, I simply slice
around the audio that I want to change and then change the audio controls like this…
Let’s first play this back, “the lavalier mic and the boom mic”. So right there where
I say “and the boom mic” is where I want it to be the boom mic, so I’ll grab the
razor blade tool, put a slice here and here, and then right-click on that segment, go to
audio channels and switch it from Channel 1 to Channel 2. Click OK and here we go. “…the
lavalier mic, and the boom mic. Let’s get these files into the computer and check ‘em.”
So, there you have it. Your basics of ProRes RAW multicam editing in Premiere Pro. So,
let’s recap everything that went into this. We started with the Lumix BGH1 and the SIRUI
anamorphic lenses feeding into a bank of Atomos Ninja V recorders to record in ProRes Raw.
We also had the iPhone with the Moment lens also recording anamorphic — not to ProRes
but you could with the iPhone 13 — and then we had the two audio recorders from Zoom;
the Zoom F6 to record with the Shotgun mic and then the Zoom F2 to record off the lavalier.
All of that had timecode sync from the Atomos timecode generators.
So, what does this look like in a real-world scenario? Well, I shot a small movie scene
using all of this technology for this project and I’d love to share that with you now.
For this scene, I hired a stunt driver and a car and an actress and a small crew to put
this thing together and it was a lot of fun to do and again, using everything that we
just talked about today. So, here it is. Check that out.
♪ ♪ [Police Siren]
(MAN) Did you get it? (WOMAN) I got it; go!!
(MAN) Show it to me! ♪ ♪
Thanks as always for watching everybody. I hope you enjoyed this and learn something
along the way and as always, I’ll see you in the next video.
