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Replacing Audio in A Multicam Sequence and Tips to Successfully Take Control of Audio Exports with Quicktime Conversion
I produced a four camera video shoot with a studio audience for a client. Each camera provided me with a different format of video clips. One camera produced 720p footage. Two cameras used DV tape – yielding uncompressed 1080i video. The fourth camera provided me lovely compressed 1080p clips.
In order to create a multicam sequence in Final Cut Pro (version 7) the format of all clips (camera angles) need to match. Perhaps future versions of FCP will not force us to adhere to this restricting requirement. Meanwhile, since this “is” the requirement there was a clear indication that, after capturing the footage into Final Cut Pro, I would need to create matching video.
In order to facilitate this requirement I created a sequence with the formatting that I’d be using for this project. I chose to conform all video clips to
DVCPRO HD (720p60).Knowing my fate, I made the time and disk space commitment necessary to begin the conversions of three of the four nearly two-hour video segments from their respective (other) cameras.
Note: One clip was already 720p so that became my target. It’s also worth noting that the final result was going to be a DVD so a 720p project was a fine choice for my multicam(ing) workflow.
I created a new FCP project, saved it, then placed the 720p (target) video segment onto a new sequence. FCP politely asked me if I would like to match the sequence to the video format I was dropping onto the timeline. I was pleased to answer, “yes” and performed the appropriate mouse click. Actually, I just hit the “enter” key to accept that option!
I was really feeling good. Everything was going just great, so far.
I now had my sequence ready to go in the 720p format of choice.
I’ll adapt my writing style to a numbered instructional form.
1. Next, I moved the playhead to the end of the 720p clip that was on my timeline (press the “end” key).
2. I located the first clip that I needed to convert in the browser, selected it and pressed enter to load into the viewer.
3. I pressed F10 to load the clip at the location of my play head on the timeline. This clip was now on my 720p sequence.
Note: by loading it onto this pre-formatted 720p sequence the footage automatically was converted (by Final Cut) to match my video segment target of choice (720p). This provided me with what I needed to have in place in order to export this video into what would soon become my multicam-ready 720p formatted clip.
4. Next, I selected the first clip on my timeline and pressed the small delete key on my keyboard in order to remove the clip from the timeline and simultaneously bring that newly placed clip to the front of my timeline. If I had pressed the large delete key to remove the first clip, I would have left a big gap. In that case I simply would have used my mouse to right-click in the empty gap on my timeline and chosen “close gap” from the context-sensitive menu that would appear. I just prefer to avoid additional production steps whenever I can. (I’m a little embarrassed writing that last statement with regards to productivity. If I knew then what it was I was about to learn – which you’ll learn by the time you get to the end of this article, the events that took place and the very reason I’m even creating this white paper would never have happened. Well, if it helps, somebody else who has similar needs will benefit from what is presented herein. So, I suppose it’s all a blessing in disguise. How lucky I am to have been blessed!!!)
5. Now it was time to simply export this (ready-to-be) converted 1080 clip to its destined 720p format. Easy enough! Command E – export and create a self-contained movie. We’ve all been there. No big deal. When all is said and done I’ll be able to import my new 720p multicam-ready clip into Final Cut Pro’s browser and get on with the task of cutting, than fine tuning my edits for this project. I called this export “Cam_A_720p.mov.” I accepted the defaults and did the deed. 95GB’s later, my export was ready. I’m pleased – so far.
6. Once that export was complete, I loaded the 1080i clips from cameras C and D, respectively, on to this format-ready sequence and repeated my steps indicated above. I deleting the clip that was already in place, bringing the newly placed clip to the front of my timeline then exported the next two clips needed for my 720p version of Cam_C_720p and Cam_D_720p knowing they would now be multicam-ready.
All four camera clips were now in a matching format. All the 720p versions of my four camera’s footage were now imported into my FCP browser and ready to sync up for my multicam editing process.
Even though I knew that this was going to be a time-consuming effort, the methodology did make all the sense in the world. Besides, I know of no other way to get these clips compatible for my multicam project.
7. I opened each clip into my viewer and marked my in points based on the audio spike from a clapper that I used when I had confirmation from all camera operators that their cameras were rolling. Syncing to a clapper is extremely efficient. Besides, I’ll admit that I do not know how to sync with time codes – especially with such a variety of cameras on the studio floor. This is what I had to work with on my set. If anyone reading this article would like to bring me up to speed on that, I’d be grateful. I can be contacted by sending e-mail to: *@*******ke.com
8. After I marked all my in points, I used them to line up all four camera angles and create my multicam sequence. It was time for me to begin cutting the project. I did just that.
After a few client reviews, modified edits and bringing the video up to the client’s satisfaction, chapter markers were put in place. Titles were added along with a few audio enhancements (folly) to help with the overall ambience of the project.
When all of this was complete the project was ready to be sent to production for replication (so I thought).
Then it happened!
The client indicated how pleased they were with the work and just wanted the audio tracks to be adjusted favoring the lapel mic over the audience (ambient) room mic which was up on a boom. I looked at the waveforms on the audio tracks for camera A (which was being used for the entire multicam sequence).
Oh (superlative of choice)!
Problem:
The audio track for camera A was a stereo pair that was a cozy mix of the original camera A audio tracks. Originally, camera A’s audio was a discrete left “room mic” and right channel “lapel mic.” Now, however, due to my exporting methodologies, the audio tracks on channels one and two had become a FCP-decided blend of exactly the same sound – an identically matching left and right channel magically blended into a stereo pair! My wonderful video just became a horror film. “Are you kidding me?” I thought to myself.
Therefore, and obviously, there was nothing to adjust in terms of favoring the lapel mic. There was no way I would be able to favor the lapel mic and adjust the levels on the audience mic during a moment of occasional laughter. The resulting exported 720p video and its stereo pair audio that was imported back in the Final Cut Pro consumed the timeline for this multicam sequence – with over 50 edit points and entire sections moved from one location to another in order to facilitate a bonus footage and Q&A section. I did not have those original and discrete left and right audio channels in place. There was nothing to adjust. I was hosed!
Solution (maybe???):
“Okay,” I thought to myself. If there’s just a way that I could take the audio from that original camera A clip right out of that Sony camera and replace this (stupid) stereo mixed pair on my multicam timeline, I’d be all set and everything would be fine. I just need to get back those original discrete audio channels from the original footage. I can do this.
If I just dropped my entire camera A 720p-converted video clip onto a new sequence, then remove the audio, and simply bring in the original audio from the original Sony cam clip… and then… say some magic words that automatically change my multicam sequence, I will have the proper replaced audio in place! “Yes, that’s it,” I envisioned.
I did a Google search for “magic words to replace audio only in heavily edited, sliced-up, segments moved here, there and everywhere multicam sequence for Final Cut Pro – version 7!”
This is what I found on Google. “Ha Ha Ha! Have you considered flipping burgers at a fast food drive-through?”
I was beginning to think that I really do have a problem here and that this is not going to happen. The gentleman assisting me with the project volunteered to grab the audio from the original Sony cam (camera A) and place it on audio tracks three and four. He began chopping, relocating and manipulating the discreet L & R audio we needed making every effort to perform an elegant synchronization, by hand. Again, there were over 50 cuts on this footage. He even made meticulous use of the option key while tapping the left and right arrow keys to adjust the audio a frame at a time in order, to the best of his ability, make certain that he had removed any reverberation effect caused by a portion of the proper audio tracks being out of sync. This took him three days. After, the client said this will not do. We cannot chance any out-of-sync issues. It must be perfect without any question whatsoever!.
“Recut the entire project and make sure you have the correct audio tracks in place FIRST this time.”
I gave this some careful thought and made every effort not to resort to a magic spell for a solution.
My objective was to replace the stereo pair (useless) audio clips on my multicam sequence with the original left and right discrete audio channels so that audio adjustments could be made to taste. The end results required:
1. that there be absolutely no issues with the sync – whatsoever,
2. the multicam video would now have the desired distinctly separate lapel and boom (ambience/audience) mic audio tracks in place so that they could be adjusted as necessary and
3. that this type of interruption in productivity and workflow NEVER happen again.
Here’s what I did.
I decided that I simply need to replace the camera A footage in my Final Cut Pro project with a new audio-correct version of a file called “Cam_A_720p.mov.”
This way, when I were to reopen my Final Cut Pro multicam project with this corrected audio version of camera A in place than the audio on the timeline in my multicam sequence would reflect the discrete left and right audio channels. How simple, “I can do this.”
It took me an extensive amount of consideration that took me way out of the box. I ran lots of testing and made three phone calls to three different certified specialists with Apple’s Final Cut Pro Professional Applications support division.
CALL 1:
Support Specialist “One” took my first call. I explained the dilemma that I need to put back original left and right audio tracks to “camera A” on my multitrack sequence. We discussed this and concluded that in theory, if I could replace the camera A clip with a NEW camera A clip containing the original correct audio that the multicam sequence would see that instead. We agreed that (in theory) this effort should be completely successful. He told me that what I’m suggesting is far beyond the things they typically help end users with and was excited to be discussing such a hot and advanced topic. Aren’t I the lucky one? How special (eyes rolling with frustration).Here’s what I did:
1. I created a new sequence and placed my 720p camera A video on that sequence.
2. I took the audio only from the original camera A footage and placed it on audio tracks 3 and 4.
3. I played the timeline to verify that all four audio tracks were in sync. They were. There was no reason for them not to be.
4. I deleted audio 1 and 2 – the bad audio stereo mix.
5. Just to be tidy, I selected the audio clips on audio tracks 3 and 4 and while holding down my option key use my up arrow, tapping it twice, to move them the audio tracks 1 and 2.
6. I exported this sequence out to a unique location on my hard drive expecting a final result to equate to the same video and the discrete audio tracks.I ended up with the same damn stereo mix after 11 hours of repeated exports! It wasn’t working. That feeling of pressure in the chest was increasing.
“Why can’t I get the discrete audio tracks to export out.”
CALL 2:
Specialist “Two” was the next to take my call. I explained everything I was up to and what I had tested and done thus far. He reviewed the notes in the support ticket log and concluded that what I’m trying to do is far beyond the scope of anything he is trained to help with. In fact, he went on to explain that it is not their responsibility to support a situation like the one I’m bringing to the table. I did not want to hear this. I love Apple’s Pro Applications Support Specialists and hold them in high regard. I consider it a very unique situation when a member of their team does not go the extra mile to help an end-user. I remain calmed while Number Two continued by suggesting that I, “delete my preference files” and try again. This would equate to me telling you that you might try a higher octane gasoline when you are trying to get a stuck bolt off your vehicle to repair a flat tire! … WHAT???“Thanks Number Two… bye!”
I tried some additional exports in an effort to get the discrete audio channels. I found a selection in the customize dialog box of the export utility that let me choose discrete channels as compared to stereo. Certainly, this was my error and I was well on my way to achieving my goal. The pressure on my chest was lifting.
I exported. It equated to a stereo pair. It wasn’t working. The pressure on my chest reappeared.
Call 3:
I was now speaking with the third Apple specialist, “Three.” He was blown away to hear about what I was trying to do and was completely supportive of the fact that what I’m up to should work. He provided me with a few tips on “exporting clips with FCP” and keeping the audio (l & r channels) in tact without them blending into a mixed stereo pair. That was the crux of the problem in a nutshell.He explained that I’d be better off to use export using QuickTime conversion where I would have more control over my export settings. “Ah ha,” I thought to myself. So that’s the secret to getting this to work. I’ve been using export to self-contained movie. There’s where my problems lay. I finally believe that I have learned the weakness in my exporting skills and why I was having so much trouble.
I went ahead and exported my sequence again using QuickTime conversion and imported the resulting clip. A mixed stereo pair! There is no way this is happening because I tediously insured my settings and know, without any doubt whatsoever, that I had chosen to discrete channels for my audio export settings. This is not happening.
“Okay, what am I doing wrong?” I went back to my timeline and stared at my sequence. It stared back. I stared back. I began speaking to my computer screen. “Why aren’t you working?” My computer screen spoke back to me, “I’m not going to tell you!” I was surprised to have my computer display speaking to me.
I stared at my timeline. It stared back.
While helping another Final Cut Pro user recently I was explaining how nice it is to use shortcuts whenever possible while using the program. I recently taught him the use of Option L and Command L. If you don’t know, Option L will marry together audio clips into a stereo pair while Command L marries the video and audio together into a linked A/V clip. When the video and audio clip names, on the timeline, are underlined they are linked. When audio clips have little arrows pointing to each other on the timeline where they meet in the middle-that tangent point-they are linked.
“I shall try my export again,” I thought to myself. Only this time I’m going to make sure that nothing is linked so that all the elements on that %#!@* timeline are extremely independent of each other. I made the changes by selecting the tracks and using combinations of Option L and Command L. I stared at my timeline only this time it didn’t stare back. I spoke to my display, “embarrassed, are you?” It didn’t answer back.
I exported the clip. I brought the finished export into Final Cut Pro. The distinct channels were in place. Finally!
All I needed to do now was bring all this home so that my multicam sequence would recognize the new improved camera A footage with its discrete audio channels.
1. Right-click on the camera A clip in the browser of your final cut Pro project and choose “make off-line.”
2. Rename the video clip with the corrected audio tracks to match the name of the video clip inside your final cut Pro project. This clip should be in a unique location.WARNING: When marking your original clip off-line you will be presented with a dialog box that prompts you to either leave the clip on disk, delete the clip, or send the clip to the trashcan. MAKE SURE YOU LEAVE THE FILE ON DISK.
3. Now you are ready to wake up the correct clip. Right click on the clip in your FCP browser and choose Reconnect Media.
4. Select the correct clip, with that same name, from the new unique location.The original audio is now in place and can be adjusted to favor the lapel mic and make a few tweaks with the audience mic where needed.
Congratulations! It is finished.
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7 Replies
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Okay. I tried to read this three times and my head was spinning before I could finish it each time.
From what I can tell, your method of converting your material to 720p was flawed. All you needed to do was use Compressor to batch convert it all using the proper preset. Doing all this stuff in the timeline within FCP was the wrong way to go. Somehow you managed to mix down your multitrack audio. I would guess your audio output settings (they also affect exports) were set to stereo instead of direct out.
Sorry you went through this, but it was really quite avoidable with a little time spent with the manual. Sounds like you got some questionable advice from some specialists too.
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All I can say is, I hope Marc’s post is an April fool’s joke.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
EPK Colorist – UP IN THE AIR – nominated for six academy awards
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.
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Ever had something go wrong and need to fix it? If it must be fixed, the reason it went wrong becomes a non-issue once it “is” wrong. Avoiding that next time is one goal, but fixing it this time is another. Using Compressor sounds good on the next project when I need to match all camera settings. Thank you for your helpful response. I’ve learned something and others will to, no doubt.
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Dear David,
Unfortunately, as comical as you apparently have found my post… it was not joke. Considering the creditable accolades in your title, I would be extremely grateful if you would suggest the workflow that a professional like yourself would use to prepare the video footage from various camera formats for a multicam project – keeping all the audio in their original format/channels. That would sure be helpful on this forum. Thank you for taking the time to respond.
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Marc,
Sorry for the sarcasm, but reading your lengthy explanation of the “workflow” you created was just so painful I was hoping it was a joke. If you can get over that part, I invite you to research answers to your questions here in the future in advance of embarking on your future technological challenges, that way we can help you before you have such issues instead of reading about them afterward.
As you discovered so painfully, getting started down the wrong path in production inevitably forces you to make fixes all the way along throughout the post process. That is an inexorable fact, and it will never go away, no matter how far you go in this business. In the real world, the time you took in post to correct your mistakes in production would have lost the client, gotten several people fired, and would probably have ended up costing tens of thousands in legal fees. The fact that you had all the time in the world to chase down a solution was great for you this time around, but things really don’t work that way in the business world.
With that in mind, I hope you fully understand that your first mistake was shooting with four different cameras. And please, don’t tell me that getting four identical cameras was just too expensive. I understand that argument. I hear it all the time. And, we help people fix that mistake here every day. But, I also know that it’s a perfect example of “false economy,” and it would have cost you your job in a real world scenario.
From there, as John already mentioned, you went on to use the wrong tool for the job. Compressor would have made easy work of transcoding for you without any of the issues you created by exporting mixed tracks from the FCP timeline.
After that error, as you already know, you were clearly boxed-in, and I do admire that you found a way out of the predicament. I hope that the next time around you’ll come here and discuss your workflow beforehand so that we can help you to avoid all the pitfalls before they happen.
All the best,
DavidDavid Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
EPK Colorist – UP IN THE AIR – nominated for six academy awards
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, Indie Film & Documentary, and Film History & Appreciations forums.
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Apologies if my snarkiness offended you….and as David said, you should be commended for digging your way out of that mess.
I do find it troubling that people who should have known better gave you some bad advice during the process, instead of correcting your workflow.
Hang in there… We have all had jobs like that one.
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Thank you. Your very kind to spend your time with that great response. I did go ahead and try out Compressor to convert some 1080p footage to 720p – leaving the audio track unaffected. Worked perfect. I contacted Apple support and support person “Four” in my overall episode indicated that Compressor will do the exports (conversions actually) a little quicker than Final Cut. He also confirmed “that” is the way to prepare all footage so it matches for my multiclip editing needs. All in all, I’m now a step closer to where I need to be to do this type of work. Thanks for your candid (and a little edgy) responses. I’m thick skinned and “okay” with what has been expressed.
I’ll summarize my long-winded white paper which, by the way, I just sold to Adobe for $1.2 million dollars with all rights so they can use “it” to promote their new CS5 Mercury Engine for Premiere and After Effects.
Do you have different video formats that need to match for a multiclip project in Final Cut Pro?
No problem.
1. Put all the clips in Compressor and use the format preset of choice for the target format you desire. I normally use 720p60 for my projects. Do not let Compressor alter the audio tracks – only the video.
2. Select your target destinations.
3. Submit (so Compressor can convert these clips).
4. Open FCP and import your matching (format) clips.
5. Create your multiclip sequence and cut your project.
NOTE: If this does not work (but it will work) – go read my original post which will require hours of tenacity, prayer and a magic spell or two!
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