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Grouping/syncing-Many camera’s starting and stopping
Okay…. how to start?
Working on a show with 5 camera’s running, each of them starting and stopping. We have external audio, and are using the length of those clips to determine when to break up the day and group.
We auto-seq everything and cut into same timeline. Then when the audio breaks, we subclip the video tracks, add AUX TC to make them all match (after we synced everything) and group by AUX TC. Seems to be working fine.
PROBLEM: From what I can see, each time a camera stops and then starts again, it puts it in a different place in the group. So, therefore, the same camera ends up all over the place. And each camera stops and restarts at least once during the span of the audio clip. So, right now I have 21 clips to group (again, technically only 5 cameras). I only know that I can view 9 split, and swap cam bank of 2 pages. So that leaves me only being able to view 18 of my 21 clips.
QUESTION: Is there ANY WAY to assign each camera to stay in the same position in the group as it turns on and off? (I cannot export the whole camera as one clip, because we will be up-rezzing for the online). OR, is there anyway to see more then 18 clips in the group?
THANKS to anyone who can help! 🙂
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4 Replies
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If you have 5 cameras running, you have no need for the ‘swap cam bank’ function. You should only be seeing 5 cameras at any given time.
After doing the whole add edit/subclip/add aux TC, are you sorting the clips by aux tc then name? If you’d like “Cam A” to always be in the same spot, and “Cam B” to always be in the same spot (on the 9 split), you need to do this. Again, I do not see why you would need more than 5 spots in the 9 split.
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Basically, I think you’re stuffed.
I think that with breaks in the shooting you can only work around it in 2 ways:
1, sync each camera to the continuous audio track and make a video mixdown. You can then group that with the other cameras as a group. That means though, that you won’t be able to re-connect for the on-line.
2, sync the 5 cameras on 5 different video tracks, but that won’t work as a group, and will be tedious switching the view from one video track to another.
Hopefully next time they’ll give you continous shooting on all the cameras! -
As suggested, sync each camera to the audio mix on tracks 2 3 4 5 6 etc leaving 1 (IMPORTANT) free to the end of prog.
Then mark in and out up to each re sync point. go to in. on each track make match frame then a sub clip for each camera. then select these subclips in the bin (in the order you wish them to appear in the multicam window) and then create a group clip based on in point. Take this group clip, add it to the play monitor , mark in at head and edit it onto the clear track 1. Work your way down the timeline from thast point to the next cut etc etc etc etc.
Enalble multicam and vision mix it on track 1.NB I have matchframe and subclip mapped to f2 abd f3 for speed, and each camera mapped to f5 f6 f7 f8 f9 for easy vision mixing.
Works a treatOH, and fire the camermen who stopped their cameras. they need to get your edit bill as theyve cost you a lot of time.!!
Post Production Dubbing Mixer
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>OH, and fire the camermen who stopped their cameras. they need to get your edit bill as they’ve cost you >a lot of time.!!
If the show was being shot on either film or a time-limited format (like a CF card on a Red One camera), and the show is some kind of concert or sports event, the camera operators were doing exactly what they’re supposed to do, assuming their assignment for their particular angle was to get the beginning and the end of the performance without having to incur a roll-out. As long as they properly advertised what they were doing, it’s your job as an editor or assistant editor to make it work. And your time is a lot cheaper than production’s time, even if it were possible to have unlimited run time on the camera formats I just described.
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