Examples of when it’s advantageous to use Synchronized Clips over Multi-Cam?

[Bill Davis]

I think the smart thing is to start by figuring out where you need to get to. Esseentially, look at where you need to end up – before you begin.

If the end result is a cohesive piece of video created from one long “take” – and you have multiple sync’d cameras – then the choice is simple. That’s what multi-cam does best.

If you don’t have need for that overall structure, then multi-cam might or might not be the best approach. What it does really, really well is to let you very easily do a “rough cut” from synchronized angles. Then you can adjust those “take” decisions very easily. You can also “re-run” your storyline in “passes” to revise and edit your “take” decisions, which is hugely helpful. And then magnetically connect as much B-roll as you like to cover the places where you might not have the perfect shot from ANY angle.

Where it gets tricky, is if you want to create a hybrid storyline with some sections “switched” and other sections edited without multi-cam. Then you have to figure out where you’ll dip into which mode – and the choice may have ramifications for how you handle program audio.

I’ve had a couple of programs where I’ve used my field sound in multi-cam switches – only to decide late into the edit to go back and disable all my storyline audio and bring in the original stems and connect them as virtual tracks. It’s pretty easy. Then again, I’m pretty accustomed to post-syncing audio by waveform or cue rather than requiring an automated syncing facility. So doing without clip synchronization doesn’t really bother me.

The best way to approach it in my mind, is to first thoroughly understand what kind of “section-ality” (if that’s even a word) you think will benefit your project the most and then figure out what makes sense section by section.

And the coolest thing is that as you finish each section, you have the option to create a separate compound clips of the results – then bring them together into an “assembly storyline” to mix and match different section types.

But I truly think you have to spend some time thinking about where you’re going – before you can decide what X “constructions” will best help you get there.

My 2 cents, anyway.

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[Jeremy Garchow]

Another thing to remember is multicam clips preserve timecode, synchronized clips do not.

Also, getting multicam edits in to other applications via FCPXML can be tricky.

[Dave Gage]

[Bill Davis] “But I truly think you have to spend some time thinking about where you’re going – before you can decide what X “constructions” will best help you get there.”

Let me re-phrase, in what situations would using Synchronized Clips be the best workflow choice? I get multi-cam and it would likely work best for even a 2 camera shoot. I just wanted to make sure I’m not missing anything about usage of Synchronized Clips.

Thanks,
Dave

[Dave Gage]

Jeremy,

[Jeremy Garchow] ” Another thing to remember is multicam clips preserve timecode, synchronized clips do not.”
I use prosumer cameras, so there is no timecode to begin with.

[Jeremy Garchow] “Also, getting multicam edits in to other applications via FCPXML can be tricky.”
At this point, being a one-man show, I don’t use/need any other applications. I’ve made it by fine with with the audio and color features built into the program.

What do you use Synchronized Clips for… just replacing an audio track?

Thanks,
Dave

[Jeremy Garchow]

It depends on the project.

If timecode isn’t “important” in that I don’t need to reference clips by timecode, but I am syncing double system sound, and need to grade in another application, I’ll use synchro’d clips. Mostly, I use this for spots where most things have a scene/take, including the audio, and everything has jam synced timecode. Once it’s all synced, the timecode isn’t as important as scene/take. Plus, you can always open up the synchro clip to take a look at tc.

If tc isn’t important and I am staying in FCPX, I will use multicam. Multicam clips behave a little differently when editing too, in that you get joined edits (a little dotted line) that you can easily delete and “heal” the edit. You can’t do this with synchro’d clips (or other regular clips in FCPX).

If there are more than one camera angle, I usually use multiclips, or sometimes, I’ll just stack clips on top of each other.

I don’t think there’s a right or wrong way to do anything, unless of course, you need an XML and FCPX doesn’t provide the necessary info to go to other applications. Some day soon, I’m sure that will change, and you can also wash the XML through Xto7 to “flatten” the multiclips.

There is feature overlap between the two types of clips, but there’s obvious differences as well.

Jeremy

[Loren Risker]

I shoot mostly with a DSLR and a separate audio recorded so I use sync clips all the time. I never considered using multicam when I just have 1 video angle. Maybe I’m missing something?

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OutOfFocus.TV – Original series, music videos, mini-docs.

[Jeremy Garchow]

[Loren Risker] “I shoot mostly with a DSLR and a separate audio recorded so I use sync clips all the time. I never considered using multicam when I just have 1 video angle. Maybe I’m missing something?”

Check out this thread: https://forums.creativecow.net/thread/344/24512

Sometimes, synchro’d clips simply don’t work as expected.

Jeremy

[Loren Risker]

I’ve never had a problem, do you have an example of a scenario when they don’t work as expected?

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OutOfFocus.TV – Original series, music videos, mini-docs.

[Jeremy Garchow]

The post below this one is a good example. 22 clips, one master audio track, and FCPX can’t figure out what’s going on. This can be easier to deal with in the multiclip editor.

I have had synchro’d clip sync incorrectly. It’s fine if it’s a shot or two, but if the whole shoot is bad, it’s annoying.

I had a series of golf commercials that involved pro players hitting golf balls throughout all of the spots, literally hundreds of swings, and FCPX would sync that sound with the sound of the clapper.

It was kind of funny to watch a pro player hit a ball and when he did, hear the sound of the slate.

I don’t know why it doesn’t work sometimes. It simply gets confused and the process doesn’t work like you would expect.

If that happens, using a multiclip might work better as you have a bit more control, can add things on different angles, can sync as many clips as you in to one angle at a time as you don’t have to add it all at once, which means that if you can determine one clip is giving you problems, you can sync the rest of the to the monitoring angle (or sync selected to monitoring angle). It is quite awesome and offers more control over the automagic synchro’d clips. But multiclips aren’t prefect for an XML out. You have to take the yin with the yang.

Jeremy

[Dave Gage]

[Loren Risker] “Maybe I’m missing something?”

I don’t think so, but that’s why I started this thread to see if I was missing anything and if there were any other slick uses for the Sync Clips.