Intro to Multicamera editing in Adobe Premiere Pro

multicam editing which is what I'm gonna call it right now multi camera multicam is kind of like a television switching studio where you have at least two cameras in fact we can have unlimited theoretically unlimited cameras in Premiere Pro but you basically shoot with multiple cameras Premiere Pro syncs them together and then you cut between them very very easily that's the idea if you're a Final Cut user you used to multi clip but this is multicam I'm gonna start by getting all of my media in here and then I'll show you how to set up a source sequence and a master sequence again another big difference from Final Cut is that we simply nest a source sequence into a master sequence and then we cut from there so let's assume that I've already brought all of my six cameras in that I'm shooting with and I'm adding color correction to them and then I'm going to cut them into a multicam master I have shot this on a red and a canon c300 a Blackmagic Cinema Blackmagic pocket 5d mark ii and a 5d mark 3 that's six different cameras that I'll be cutting too but like I said we've got unlimited camera so we've got a large shoot we'll be able to accommodate all of those let's go in and have a look all right so over here on the Left I have my footage and I need to to select that footage and put it into a multicam source sequence what's very important here is this is the first camera clip I'm choosing which you can see is the c300 it's my B cam c300 I'm choosing that first and not the red epic above that because the C 300 is HD and that's the project that I'm working on if the first clip I choose is 4k which is the red epic that means I'm going to make a 4k sequence I don't want to do that I want to start with HD plus the red epic doesn't have audio loud enough to sync I'm gonna use audio sync on this and I'll show you this is the great thing I can add cameras after I create my multicam source sequence alright let's go so I'll select that one first I'm holding ctrl on Windows command on the Mac selecting the rest of my footage and then right-clicking and choosing create multi camera source sequence and in this dialog box I'll go from top to bottom so first of all we can name this the video clip the audio clip or custom I'm gonna name this custom this is a kendo battle and this is for this is the source sequence so the kendo source multicam sequence I can sync this if I had in or out points so I could actually go into these clips before I right click on them and choose this and set in points and all of them and typically that would be where the slate was down I could choose timecode and I could actually create a single multicam source sequence or not what does this mean that means that I don't have to do this by one scene at a time actually I could actually be selecting a whole bunch of scenes and choosing to make a whole bunch of multicam source sequences right here and I could also go by clip markers also again as an old technique but you would go into again wear this with a slate clap down that sink point drop in an unnumbered marker on each one of those clips and see say sequence it that way or sync them that way but here's the new way and that is the audio sync so we're going to read the audio from each one of the cameras I mentioned that the red epic down here is not selected because the audio is too quiet or is missing the sequence preset I'm going to choose is automatic and if you go in here and start choosing some of these sequence presets you better know what you're doing this is one of the biggest gotchas that can you can run into problems I'm leaving my not on automatic because Premiere Pro will actually look at the source of all of the audio clips in here and the source sequence itself and it's going to make a good decision I can tell it to move all my clips to a processed clips bin this is just great for housekeeping if you've got them strewn all over the place that sticks them in a folder next up these are the three most important settings for how we're going to work with audio remember this is an audio section in here I can choose camera one all cameras or switch audio camera one means predominantly I'm going to be worrying about the audio from camera one only the rest I don't care about and for in my case here that's what I'm going to use all cameras will turn on of the audio for all of the cameras so each one of these will still bring in the audio from all of them but they will set up the tracks differently and they will mute or unmute tracks camera one is going to mute every other track of audio all cameras will unmute all of the other tracks switch audio will as I'll get into episode two on the more advanced gotchas this is when you want to actually when you switch a camera you switch to the audio from that camera okay again I'm going to leave mine on camera one and then I can name these cameras just by enumerated them use the track names or the clip names I'm gonna click OK and you can see that it's pretty darn fast and it made that that quickly over in the left hand side let me just close up by footage now and you can see this new kind of icon it is it's a multi-camera or as I call it a multicam source sequence and most people at this point will double click on it and it will open up in my source monitor and I can see it right in there and if I hit the spacebar and play this back you can see each one of the cameras that I'm playing ok this is just the source sequence preview this doesn't define what camera is being used or anything at all so just use this to look at it but we're gonna go and make a multicam master to be able to choose the cameras and record which angle we're playing at now there's a few different well there's two basic ways of doing this I can right click and choose new sequence from clip and it's going to make a new sequence over here of all of this and you can see there's my camera source sequence now it names this the exact same name that I had over here so you can see my multicam source is named source and so is my multicam master so just for my purposes here I'm going to change that name to master and I'll also call this Auto because it's an automatic setting that we have and you notice over here on the right we have our multicam and we have basically the top camera showing so that is this top camera in here that the one that's showing how do I access the other cameras over here and the program monitor I've actually brought it out already so let me reset my layout when you click on this little plus button over here the button editor the button that I want is a multi camera view and it's also shift 0 but if I drag this down into here I can make it as part of my regular program monitor so now when I toggle the multi camera view you can now see each one of the cameras that is there and I'm switching between each one of the cameras and if you want to give yourself some more room drag this out I can also hit the tilde key and jump up to full screen to be able to see this if I want but the problem here is I mean I've got my 5 cameras but I'm missing my red epic camera remember I didn't choose that when I made this source sequence so how do we go and do this again that this is something in Final Cut that if you screwed up the the multi clip you can't go back and fix it and this is probably the biggest wow moment that I'm seeing from a lot of Final Cut users who move over to Premiere Pro and here's the deal most people will double click on the source sequence but if I right-click and choose open in timeline you can see each one of my cameras is now open in the timeline and in fact it's even easier if you hold down the command key on the Mac ctrl on Windows and double click you can open that source sequence even better back in my multicam master if I hold down commander control and double click now I can open that up ooh baby look at that I can now get inside the original source sequence so I can do color correction editing trimming and even add a camera so let's look at how we're doing that so at the beginning is where my slate is I'm gonna open up my footage again and double click on my red epic there's my red epic footage that I need to be placed into a new track over here I've already set my endpoint so if I go to my endpoint there's the clapper and you'll notice I don't have a track up in the top and I don't have extra audio tracks but if I click inside and drag over here we're gonna automatically make a new v6 and two new audio tracks down at the bottom and now I've got my new red epic and it automatically brought it in it brought it in at a one-to-one ratio so one pixel is one pixel meaning that it's 4k stuck in an HD timeline so what does that mean that means I got a big piece of footage so two ways to shrink this down I'm going to open up my effects controls and open up the scale properties and you can see we're at a hundred percent and I can if I wanted I could just drag this number and change that number here but if you don't know what that number is a really quick way to size that is to right-click and choose set to frame size not scale to frame size set the frame size sets that at forty percent and now my red epic is brought in as another camera let's go back to my multicam master and sure enough there's my red epic all right so that should blow your mind you can get back in and edit each one of those pieces completely one other thing I wanted to show you and and I'm gonna open up my timeline and just show you this real quick I'll undo this in a second because I just want to show you that sometimes what you might end up having happen is this you might have a bunch of b-roll cameras that come in like this Premiere Pro isn't always smart in the way that it interprets a second camera so here's a typical scenario I'm shooting with my Blackmagic Cinema and I've got a couple of 5d Mark 3 shooting b-roll and the 5ds don't shoot as long as a black magic so they're gonna chop it into four gigabyte chunks if you choose the multicam make multicam source sequence and it reads the audio correctly and it makes it but you you end up opening up your source sequence and that's what you see this don't panic just drag them all down and if if you select them I'm holding down the Alt key on Windows the option key on Mac and using the up and down arrow keys to bring those down so don't panic let me just gonna undo all of that don't panic if you see that just remember that you can fix that manually maybe that'll change in the future I know PluralEyes does a better job of this but we still get the accurate timing of the cameras you just need to bring them down alright just a real quick point on color correction each one of these clips now is completely editable inside here with effects controls and color correction so this is how I can make a multi-camera source sequence and then go in and start color correcting which is very typical especially when you're shooting with multiple cameras that are different like this six cameras six different looks just it to show you my workflow the way that I work is I actually create the multicam source sequence here in Premiere Pro and then I shoot this out to speed raid through the file menu so you select your source once file edit direct link to SpeedGrade and then you can edit their the other thing that i do is i use the master clip effects instead of a source clip and i'll show you what I mean notice down here that each one of my cameras actually has a red underline in it that's telling me that the effects that I have are actually on the master over here you can see luma tree effect and there's my epic footage and if I turn that on and turn that off you can see the correction that's going on over there and if I go all the way to my master so if I let's open up that footage let's open up the controls and watch this let's go back to my there's the red epic if I go back over to my master controls so I'm opening up the red epic opening up the effects going to the master turn that off it changes all the way over to there so this is incredibly efficient because every single place that that camera because the lighting is is the exact same every place that that camera occurs in in my multicam source and master I only create one luma tree effect in SpeedGrade and it ripples through the whole way Wow so six cameras six looks and I'm done my color correction and then at this point I could add an adjustment layer and then effect everything over top you know bleach bypass some kind of badass look to these warriors the the name of luma tree comes from SpeedGrade that's what a SpeedGrade change is it looks like in here as an effect you can also go into the effects type in luma tree and you'll actually see all the luma tree effects inside there and drag-and-drop them but it's not just luma tree effects I could use the three way color corrector bottom line is I can now peel back that source sequence and completely change everything and make it change on the the master output okay so now that we've got all of our footage in here I'm just going to go to a point where the guys are just off the screen I'm going to hit my cuqui to do trim the head of this and open this up a little bit I could save a workspace if I wanted to and start to edit this so how do I actually control which camera is showing by the way here's one great feature now there's a lot of motion going on and some zoomed in areas in here and I need some sort of a point in this battle that tells me where the two warriors are and the thing that I am going to look for is my wide-angle shot that's the red epic it's getting the widest shot it's locked off on that so that tells me the position of these guys but remember I added it as my sixth camera it's all the way down on the bottom right I'd like this in the top left hand side so how do we fix that again we're in our master sequence and a vote to the little wrench over here and down here edit cameras notice that I can turn cameras on and off now I have to drag it to two first and then drag one to two I don't know why I can't just drag that up to the top all right so there it is now when I click OK you'll see that my epic is over here what's what's pretty cool is if you do this after the fact and you've actually cut to camera remember that was camera in the top corner that was camera one but now I want six to be one and maybe I cut to camera two even after I flipped those cameras it's going to keep the cuts I made into the correct camera pretty smart that way okay so you'll notice that these are yellow and I can change what camera I'm choosing by clicking on them with the mouse or I can use the numbers at the top of my keyboard I'm not using the numeric keypad on the right hand side and if you search in the keyboard shortcuts you can you can see those and I there's also a next angle previous angle that you could flip between them you can also right-click on the clip itself multi-camera and choose a different camera angle inside here if I want to cut now when I click on a camera if I hold down the command key or the control key on Windows so command on the Mac I will actually put a cut inside here so if I move over to here and now I'm holding command ctrl click you'll notice I just put a cut inside here so I've cut between these two cameras so if the if it's moving too fast you can stop go to a frame accurate position command control click and then you've cut to that same with the keys at the top we can do up to 18 keys so I'm holding command control hit the camera number and I've cut it I'm gonna actually just let this fly and I'm gonna do it on the fly so I'll hit my spacebar I'm gonna start with my wide shot over here with them coming in there they are and when they bow I'm gonna go back I'm gonna go over to this guy he gets ready that guy over there this guy sits down that guy comes up now a little bit in the back flip the angle over here back to a wide angle and then they start really start moving fast click inside here back to my wide angle let's get some feet going in here back to over here and when I hit the spacebar you can see all of my cuts down here in the bottom and now when I play this back watch well will be cutting down here but you'll notice yellow will change up at the top boom boom boom so I'm doing my multicam now what if I chose the wrong camera angle at this point maybe I didn't want this back shot inside here well if I just click inside here I'm going to change that camera angle but I'll keep the cut that I want if I want to actually change and make a different cut again hold ctrl on Windows come in on Mac click inside here I've now added a cut in here after the fact so I'm going over here over there and clicking inside same with the keyboards at the top I'm going to hit let's do camera 6 so I'm holding ctrl or command 6 at the top I've just cut to camera 6 and all of the same editing tools so I just did a trim inside here the rolling edit tool which you can go over here and grab rolling edit tools probably the easiest one to use when I'm cutting because I'm not shifting the position around of the clips inside here I'm just changing which camera switches at which point in this the sink stays in line so that's good now if we open up here's one of our gotchas and and I'll just go over this one inside here really quick you'll notice that we don't have any wave forming here yet if we go back to our source we can see that we do in fact have a whole bunch of waveforms inside here well that's because I brought in the red camera and I didn't mute these if we go back to our master now you'll see that we have an audio waveform huh how come well this is the way that Premiere Pro works for better or for worse if camera if remember we chose this as a a one camera so it's going to only look at audio track one from the source sequence if you have any other tracks unmuted that is considered a mix and we can't look at a mix unless we render the audio so here's a little tip so if I go back over to my source let me turn off another one of these go back over to my master it's going to be gone go to sequence render audio it's going to take a moment and you'll see this is a this a combination of both those tracks track 1 and track 2 combined together that we'll be able to see that so for better or for worse or for whatever if you have anything going on that is considered a mix that's more than one track you'll have to render audio to see it in your multicam master okay well at least I can see that no problem now you'll also notice that this was we made this automatically remember I right click and say make a sequence out of the source sequence and it chose to do adaptive tracks so we have two inputs and two outputs and may or may not work depending on what you use it also created a multi camera to track iris or a multi-channel to channel out which I could change after the fact I can make this 8 channels or whatever here's a little tip if you go over to the source sequence right click and choose modify audio settings holy smokes I could come in here and I could change what this source sequence out is remember this is not the individual tracks this is the master out of the source sequence I'm getting ahead of myself we'll do more of that in the advanced episode 2 in multicam but I just wanted to show you where that stuff was all right I've showed you how to rearrange angles multicam mode keyboard shortcuts what about exporting this out to something other than well this well first of all I can just export this out just normally so if I go to file export media when this exports out now it's going to export out to whatever movie format I'm going but occasionally you will be editing something like a multicam in Premiere Pro and by the way if you export out a multi clip as Final Cut Pro XML farm from FCB 7 you can actually read that in here and then continue editing but let's say that you did your multicam in here and someone is asking for another XML out or an AAF or an EDL well you can't export this out correctly as a multicam Premiere Pro multicam master because it's a proprietary format that we understand so we can flatten it now before I flatten this I'm going to right click and duplicate this and I'll call this master oops flattened now this is still a multicam source sequence I can select by the way I can select just some of it but I'm gonna select all of it right-click and choose multi camera flatten this is you notice it changed color it's not connected and my multicam preview display is gone this is essentially just a regular sequence that cuts between all six cameras export this out as EDL it's gonna work export this out as head XML it's gonna work AAF this is just a regular sequence just sometimes you need to do this but if you're taking advantage of the source sequence being able to affect it but after you've made it color correct all the stuff this is an amazing way to working and the person you're sending this to maybe you're going out to resolve although with speed Gregg you don't have to do this be great just chooses this camera multi camera directly go speed rate but let's say you had to give it to somebody resolved you can't give them the multicam it's going to be a mess so flatten it export it up but remember I kept my master as a real sequence so my workflow if somebody did ask me for the XML for resolve or an EDL then I would use the flattened master just as an export and I'd go back in here and I delete it because I can duplicate and flatten as many times as I want I don't want to confuse myself so well back into here there's the flattened one delete that yep it's gone and I go back to working on my multicam master because I've got way more power way more control to flip between cameras inside here okay whoo so hopefully that gives you a good idea of an intro to multi camera editing in Premiere Pro incredibly flexible and incredibly powerful it's not your your typical multi clip that you're used to in Final Cut but you can get into trouble when you're working with audio and the next segment I'll take you through all the gotchas in multicam audio

Channel: Colin Smith

Views: 19,264

Keywords: Adobe Creative Cloud, Adobe Premiere Pro, VideoRevealed, GURUS in the MIST, Colin Smith, Video Editing, Multiclip, Video Switching, Multiple-camera Setup, Kendo Canada

Id: 8uM0mOWcGMA

Length: 26min 41sec (1601 seconds)

Published: Tue Mar 24 2015