Display source timecode in multicam sequences

[Alex Udell]

Hi,

in the effects panel there is a video effect called timecode.

for the clips that you use in your multicam setup sequence…

if reveal them in the project panel and load each of them into the source viewer (1 at a time)….

you can apply this effect in the source viewer as a master clip effect… this will allow it to propagate to all instances of it’s use in your multi-cam set up and allow that to pass thru to the multi-cam viewer.

also helpful is that when you don’t need to see them any more you can simply mute the effects at the master clip level… again loading the clip into the source viewer…and disable the timecode effects by unticking the little fx icon.

hope that helps some…

Alex Udell
Editing, Motion Graphics, and Visual FX
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[Ann Foo]

Hey Alex,
Great fix, thanks for that!
Now, the only thing missing is the source file name… I’m able to find it by match framing the multicam sequence twice, but that’s still a bit cluncky and I can’t reverse match frame back out to my multicam sequence once I find the source file I want. Would be nice if the ‘timecode’ effect had a ‘display source file’ modifyer so that all this metadata could be displayed onscreen of the multicam sequence, but I can’t see anything to this effect.
Thanks again, sorry for delay in response, I am cutting on the road!

[Alex Udell]

Hi Ann…

Similar to the timecode effect….there is also a clipname effect in the effects panel…

so that would do it…

Alex Udell
Editing, Motion Graphics, and Visual FX
Let’s Connect on Linkedin
Examples: Retail Automotive Motion Graphics Spots
Example: Customer Facing Explainer Video
Example: Infotainment & Package editorial

[Alex Udell]

also..i dont know if this will help or not….

but in your multi-cam edit…

add another video track….(so let’s say it’s v2)
you can even MUTE V2 so it doesn’t distract you while you edit…it’s just a work track…

then when you need to get at something….

option drag (duplicate) that clip from v1 to v2

then flatten that clip…this will replace the copy with the source of the multicam…(flatten can be mapped to a hot key as well)…

then you can match that out to the source viewer…reveal in project panel…whatever…

maybe that will be a little less clunky for what you are trying to do…

hth,

Alex Udell
Editing, Motion Graphics, and Visual FX
Let’s Connect on Linkedin
Examples: Retail Automotive Motion Graphics Spots
Example: Customer Facing Explainer Video
Example: Infotainment & Package editorial

[Ann Foo]

Thanks again Alex!
Adding another video track is a good idea, but sort of defeats the purpose of creating multicam clips, as if I was going to work with 2 video tracks I could just use the original sync timeline from plural eyes.
The only issue with adding the video filters you’ve suggested is that applying so many filters might make playback chugg a little… I’ll see how my system handles it and if it’s all too painful, I might give up on this whole multicam workflow and just work with multiple video tracks. Wish me luck 🙂

[Alex Udell]

Hi Ann…

hmmm…

Multicam does work well…if you are say….doing a switch cut linear…then doing a cut down of that….it may not be practical here…as it sounds like you are working from a paper cut…or working primarily non lin….

how many sync clips are we talking about?

might be easier to make 2 cam/audio sync clips of each source…

the seq would inherit the clip name…

you could offset the seq timecode to match the ref time and then sort the project panel by tc or clip name…that way to make stuff easiser to find…

once you find those in the project panel…

you can assemble them in your edit….but still then use the multicam viewer to choose the better angle…in your cut….

whatcha think?

Alex Udell
Editing, Motion Graphics, and Visual FX
Let’s Connect on Linkedin
Examples: Retail Automotive Motion Graphics Spots
Example: Customer Facing Explainer Video
Example: Infotainment & Package editorial

[Ann Foo]

The way I work is I’d quickly cut an assembly from pulling out soundbites from the transcribes, and I’d constantly refer back to the transcribes throughout the edit as the film takes shape. Not a paper edit as such, but… sort of. At the same time, I DO want the conveinience of being able to vision mix between A and B cam in the multiclip.

There are about 20 clips on each camera… it’s a good suggestion, making each sync clip a standalone sequence. That’s more similar to the way I’m used to working (with several group clips), and makes all the metadata easier to find and avoids the use of too many video filters. I’ve already started cutting with my compiled timeline and I’ll keep on this workflow and see how it goes and if there are any advantages, but next time I’ll probably sync out each clip seperately, that just seems to make more sense to me. I used a compiled timeline because that is the workflow that was suggested for multicamming on all the Premiere forums. However, it occurs to me that the people suggesting this workflow might not have been working with transcripts or cutting doco.

Is anyone cutting Reality TV or doco on Premiere? I’m intrigued about what the standard professional workflow is for this type of program on Premiere.