Looking for the proper green screen multicam workflow

[Shane Ross]

When you cut a shot into the sequence. Or, when you want to show it to the producers to get notes. Pretty much right away, really. So you can see how good it looks, if any tweaking is needed. And when you want to show it to others, so they aren’t like, “why is that wall green?”

Shane
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[Yair Bartal]

Thanks Shane, just to make sure I understand you correctly:
I have a two cameras interview on a green screen.
So I first create the multicam sequence, then apply the ultra key effect on the multicam sequence that shows CAM1, change to show CAM2 and apply the effect again, then start cutting and switching cameras?

[John Heiser]

You’ll need to pull separate keys for each camera angle in the multicam (unless the same key works for all angles, which would be a miracle). Open the multicam sequence in the timeline, mute all but one angle, apply and adjust the key, rinse and repeat.

John Heiser
Senior Editor
o2 ideas
Birmingham

[Yair Bartal]

Thanks John, I’ve found another recommendation which is to open each angle in it’s own sequence, apply the key, nest the sequence , use all nested sequences to create the multicam sequence and then do the cutting and angle switching.
I wonder if there is any difference.

[Yair Bartal]

Well Dave, I did not try it before I shot, because I did not shoot yet.
I was trying to do my homework concerning the editing workflow only here and If you can contribute I’d appreciate it.
Now that you raise the point of shooting, I’d appreciate your input as to how I should do it so that I don’t have to live with crappy results.
Thanks.

[John Heiser]

That seems like a lot of unnecessary nesting. A Multicam Sequence is a nested sequence. The key is a clip effect, so applying it to a nested sequence just means more for Premiere to have to think about. I would:

– Create the multicam sequence with all camera angles
– Open the multicam sequence in a timeline. This is different from laying it into a timeline. Right-click on the multicam sequence in the bin and choose “open in timeline.”
– Temporarily move all the camera angels up one track and put some background on V1, preferably something close to your final background
– Mute all but one angle and apply your best key, checking the screen matte and the final composite on the background. Repeat with other angles.
– Remove the temp background and move the angles back down.

Now you can use your multicam sequence in a timeline and your keys are already set.

John Heiser
Senior Editor
o2 ideas
Birmingham

[Yair Bartal]

Thanks John, that was very helpful.

[Yair Bartal]

I’ve thought about it again:
How would it work if I need a different background for each angle to account for the different perspective?