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Is this a good multi-cam workflow?
I’ve been doing my multi-cam event jobs in FCPX lately as its really simple to set up the multi-cam with dslr’s that turn on and off, and the proxy/original clip design is awesome. But I really hate cutting in it and want to see if I can set up as fast in Avid minus the fact that I have no bg rendering.
Because I’m dealing with dslr’s the cameras stop and start a lot. Setting up a proper multi-cam for that is AE rocket science since you can’t make a multiclip with a gap.
What I’d like to do is lay out the cameras on the timeline via AMA, send an AAF to plural eyes to sync. Import the synced aaf and do a seperate mixdown of each video track in dnx36. Make a multi-clip from the 4 mixdowns (rather than multigrouping after every cut) Edit with the multiclip. commit edit. Relink to AMA, output to Prores HQ.
I guess the biggest question is “will mixdowns relink to original media? Or would I need to Mixdown to dnx175 on all tracks to begin with?
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7 Replies
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The mixdowns will not relink. they don’t contain any pertinent information needed to relink…original clip timecode, clip name, anything. No, if you want to do it this way, you’ll need to import full res, Mixdown full res, and use those as masters. But if you lose a drive or want to rebuilt the project, you’ll have issues.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
Thanks shane, I realized that I lose the audio when I mixdown which would make the sycing more of a job. I was trying to do a FCP style plural eyes sync in which you send out a ref file for each track and reimport the ref. Much simpler when you can natively import a ref and cut.
Should I go the traditional sync map route, is there any reason I couldn’t create the intial sync via ama and transcode the subclips? Or should I do all the transcoding prior to subclipping everything?
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Personally I transcode before I do anything. But I haven’t been in your exact position…so I don’t have specific advice.
Sorry.
Shane
Little Frog Post
Read my blog, Little Frog in High Def -
i usually build a sync map with AMA’d clips that Pluraleyes spit out with new audio, export each track so its one long take with black in place of gaps, then bring those in, transcode and make my groups out of that.
In your case instead of mixing down i would also export, AMA them back in and then go to DNX 36 so you wont have any issues relinking back later.
Lots of people asking for “collapse timeline to group clip” function right now, would obviously make this a breeze.
Neil Goodman: Editor of New Media Production – NBC/Universal
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Ok so I’m not way of base. When you say “export out” do you mean out of plural eyes or do you mean you export each track at the highest quality and bring re-import them?
Also, is it possible to export multiple tracks as seperate files in one export? I’ve never seen it done but I figured Id ask
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I did it this week and achieved a successful sync from plural eyes 3. Which is why I was wondering what the potential pitfall would be. Essentially it is the same as subclipping and transcoding as far as I can tell, but I am not deeply educated on how an AAF import would affect the clips differently.
Importing the audio is a great point to have brought up.
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[David Powell] “Ok so I’m not way of base. When you say “export out” do you mean out of plural eyes or do you mean you export each track at the highest quality and bring re-import them?
Also, is it possible to export multiple tracks as seperate files in one export? I’ve never seen it done but I figured Id ask
“I meant export each track out of MC at the highest qaulity and then re import, then make your groups from them.
Ypur next question = I WISH! kinda like bouncing stems in pro tools or logic or audio apps. That would be huge!
Neil Goodman: Editor of New Media Production – NBC/Universal
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