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tracks for different formats needed or worthwhile?
New to Adobe Pro CS 5.5.- Maybe a simple question.
I shoot, because of my location, multi formats per job. Some Canon 7D footage, some Canon xf300 mxf , sometimes AVCHD from a friends camera, when he is helping. Is it better to create tracks within the sequences for each format in a project, or is it really “ok” or “best practices” to just dump them together on a “master timeline track” or ‘scene’ sequence that is created for the “A” camera, i.e. in my case, the 305 MXF footage? I know that I often do use multiple tracks for B roll, but I’m wondering if by mixing and intercutting B toll from a different format (mov) into an A roll of mxf I’m creating problems.In my reading it appears that I should simply create the master sequence (my videos are short music videos for this current client), say use the MXF footage, then add the 7D mov footage inter spliced as the B camera. All on one timeline track. Correct? Or even if the B roll becomes A roll (not sure but I think it might happen) then leave the different formatted footage on the separate track. I’m just confused about the notion that the sequence is created for the MXF footage, and I’m adding mov footage to the track.
I also assume as I create a longer documentary I’m working on, that each ‘scene’ or location shoot should be it’s own sequence, with A and B rolls, and then nest them together on a ‘master’ sequence at the end.
I understand that for multi camera editing I need a nested sequence, and then drop that sequence into the master sequence, with titles added to yet another track on the timeline. Correct? Or are folks just dropping the title(s) into the master timeline, adding the multi camera clip into the master timeline in a linear way to the title? i.e. Master sequence track one= titles, multi camera nested and credits. Or are folks dropping titles and credits onto their own tracks? (I’ve always done it that way). Obviously, for overlays I would use the additional tracks on the sequence.
Al
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2 Replies
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You can mix whatever formats you want on any timeline in Premiere. Go through the presets with the settings tab selected to see their different attributes. They’re really great starting places. They insure you get to the right aspect ratio and frame frate and codec probably first and foremost.
As far as titling multi-cam I do on a copy of the multicam cut sequence. At that point it’s all pretty much just graphics on V2.
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Thanks Paul. I have started with the presets for the Canon MXF format, and just wanted to clarify before getting much further down the road with it that if you start with that format of the sequence, that by adding in 7D MOV footage, I wasn’t needing to do something different to be in a state of ‘better’ practice than not. My work is not heavily needing color correction or green screen fx, so I don’t feel that it’s worth it to transcode everything I shoot in MOV to an editing codec. Usually it’s simple edits, multitrack and titles. I’m using state of the art multicore/multiprocessor i7’s.
But I found it interesting that you do the MC edit, then create a copy of it and then add your titles into that. Is that to avoid corrupting the original? I’ll certainly add that step, since it’s not hard to do.
Also, it would seem that you should be adding in your ‘master’ soundtrack to the Multicam sequence at the time of creating it, as the tracks that are on the cameras are simply scratch tracks. When I went to do that, it did not seem as if Premiere was allowing me to add that master track (I get my mastered audio tracks prior to editing the footage). In other NLE’s I’ve just used Plural Eyes to match up the master audio track, and all the video/audio tracks, and then created the multi cam edit. None of the tutorials I”ve watched on Pr have shown the addition of the master audio at the time of the multitrack creation.
Al
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