Throughly modern multi-cam

[Jules Bowman]

Bill, seriously mate, ou need to chill. I was being supportive. It seemed w shame after all the effort ou went through to only gt two songs. But hey, whatever mate.

[Bill Davis]

Just to help you understand, here’s a quick grab from the screen where you actually do your “post switching” in X.

The Multi-clip gets dropped in it’s own timeline, the editor clicks to the clips they want, with or without their attached audio. Then that “cut” is written to the timeline for further refinement.

The Angle editor manages angles. Editing gets done in a Primary Storyline consistent with how X operates for day to day editing.

Your initial confusion was understandable. You’re seeing the X interface in terms of how it relates to other NLE interfaces, and it’s foundational concepts are somewhat different. Alternate metadata views of the same content is pretty easy in X, and that’s all the Angle Editor is – a construct for managing the same database information for a specific task.

In this case, multi-cam.

The whole multi-cam construct in X is pretty amazing, IMO. Primarily because like many Apple constructs it builds on foundational concepts that are consistent. For multi-cam, you prep tag and arrange your work in one place – and use that preparation to populate as many “edits” as you like in multiple timelines/storylines.

The same can be said of the Event Browser/Timeline relationship.

FWIW.

“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor

[Richard Herd]

Looking at your keywords.

Have you tried keywords: “chorus” “solo” “verse”? Thinking of jazz structure, you get the “head” where the riff is established, then the “solo” then the “end.”

[Bill Davis]

Richard,

I wouldn’t grt too analytical in regard to the posted keyword structures of these. That s what’s changed the most as I’ve dug into the project.

As I expected, this is new territory for me, and I’ve already spent quite a bit of time revising and re-thinking my tagging strategy – and some of what I initially thought would be useful wasn’t at all. While other strategies turned out to be truly foundational (a good example is the simple S1T1, S1t2, tag for Song 1 Take 1, etc) which was a big winner in enabling me to “bucket” takes rapidly and properly in separating so many discrete clips.

This process is all about changing my own thinking and exploring new possibilities, and I wouldn’t want anyone to think at I have any special “proven” techniques reflected in these screen caps.

FWIW.

“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor

[Bill Tsola]

Out of curiosity for someone still learning, what machines are those….what are your specs if you don’t mind me asking…

[Bill Tsola]

so we don’t share system specs on this site….just curious and straight forward..not sarcastic….
Im really just curious, because so many cams equals a computer hog. So in essence of science and proper comparison – I’d like to know what system you are editing your large numbers of cams on and have a great result with. It is a critical factor wouldn’t you say….

[Al Bergstein]

Did you have to go to a proxy to get it to edit this stuff? I only ask because when I do mulitcam on Pr I use the original footage with no time spent creating proxies. Or did I misunderstand your post?

Glad to hear that X is handling this stuff well. And yes, I agree that managing the clip names is difficult, especially when you get six months in with many shoots.

Al

[Bill Davis]

Bill,

Sorry, I didn’t see this until today.

I started the project on a Quad core Mac Pro 2.66 Ghz with 6 Gigs of ram. An older machine and not particularly high powered with a basic ATI Radeon HD 4870 512 MB graphics card.

The project sits on a portable Seagate Firewire 800 drive and so I can move it from machine to machine easily.

When I plug it into my dual i7 MacBook Pro – I have less screen real estate (the MacPro has a 30″ Cinema Display), but the 14 cameras run more responsively.

And for Al, I created both standard Optimized Pro Res and Proxy media at ingest. So I can switch back and forth reasonably easily and the project populates with whichever files I choose.

I’ve been working largely in Proxy since all I’m trying to do is choose selects and figure out the approach I want to take to the edit – speed and the ability to do lots of experimentation is more important to me than full rez picture judgement at this stage. After I’m happy with an initial cut, I’ll just switch X to the full rez files and I’ll do the picture grading and final trims with those. Since both resolutions of files sit side by side in the Event – pointing the X metadata from one batch of files to the other (and back if necessary) is essentially immediate.

So unless storage space becomes an issue for someone (and $150 large fast drives makes that not a very big deal these days!) I just can’t see a reason not to work this way.

“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Connor

[Bill Tsola]

THANK YOU! THANK YOU!