Alex Udell
1
Premiere Pro Coin
Forum Replies Created
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Hiya…
Sure you can change the descriptive name of the media in premiere and this will not change the name of the files on the disk.
However, I’d suggest one slight modification to this workflow….
don’t use the clip name field…leave that as is…
in stead you might want to use one of the other user fields in the metadata and not description….
reason being…. if you ever need to relink….
you can easily copy and paste the name from the clip in the project panel to use in a OS search dialog if you need to use it….
Alex
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I think there is a breakdown in understanding what you are asking for.
You have multiple clips from a single camera that currently end up on multiple tracks when you perform this function right?
It’s like the camera was shot start and stop as opposed to free run. (likely to cover a long event and conserve on storage)
So you question is not the syncing part for that camera…. that works…the problem is that Premiere thinks you are trying to sync multiple cameras, so you end up with the individual clips on discreet tracks.
ok…so here’s a possible solution for you….
just double nest… 🙂
Premiere multicam is based on nesting.
in a nutshell, you take a sequence in which all cameras have been synced (call it the multicam source) and drop it on a fresh timeline as a clip (call it the multicam destination), then enable that clip in the mc destinationas multicam “mode”
then you open the multicam monitor. It is what allows you to make multicam edits in the sequence…basically switching between what layer of that underlying multicam….
so what do I mean by double nest?
well let’s start from where you are having the problem….you end up with a sequence with tons of tracks, starting from time 0 that contains all discontinuous ftg from one single camera.
we’ll call that Camera 01 source
now make a fresh sequence for your “multicam source” and drag “Camera 01 source” sequence from the project panel to it. It will appear as a single clip, and Should start at time 0 just fine.
now make a fresh sequence for “camera 02 source” ..and use the sync procedure to put all the camera two source material on that timeline…again you end up with a ton of tracks…that’s ok…
because now we’ll take that camera 02 source sequence and edit as a nested clip on to your “multicam source” v2. It also should line up at time 0, no problem.
repeat these two steps until you have all your “camera source sequences” edited on to the multicam timeline
then proceed with editing the multi-cam source sequence on to multi-cam destination sequence and proceeding with the multicam monitor based editing as described above….
this should achieve, easily, the “collapse” you are looking for.
remember that PrPro’s multicam is purely a “video edit” in that, as it’s dealing only with the pass through of audio video information from sequence to another, it’s not possible to generate an EDL of source level timecode for moving to another system…just image data.. (not that many people do that anymore…but it’s worth knowing in case it’s part of your pipeline)
hope that helps!! 🙂
Alex Udell
Editing, Motion Graphics, and Visual FX -
no….
but you could send the clip to AE as a dynamic linked comp and do the loop as you describe in your post…
🙂
Alex Udell
Editing, Motion Graphics, and Visual FX -
This has been a really interesting thread.
There is a pre-edit trim.
It’s Prelude….and it’s really the equivalent of log and transfer.
When used in combo with AME it’s easy to get rough selects transcoded for final edits in PPro…
Alex Udell
Editing, Motion Graphics, and Visual FX -
Might not be “broken.”
but it doesn’t sound like a way that makes sense to work to me….
might want to report/request that one…
Alex Udell
Editing, Motion Graphics, and Visual FX -
yup multicam really needs the option to drill down edl wise on pass thru to AE and pass off via XML and EDL…
we ran into this in edit* development in the old days and I practically held up a release until it was fixed… 🙂
Alex Udell
Editing, Motion Graphics, and Visual FX -
For the multi-cam part options include:
1) Painful: in a duplicate sequence, Visual match, mark in, and option drag replace from the source clips to the timeline edits. then these can be used in AE.
2) Less painful: in a duplicate sequence export that part of the sequence in to out, cut it back into the timeline preferably on a track above, and use the edit points to razor the merged clip. then drop the edits back down to primary track. the downside is that you lose media trimming handles, so you have to be careful. but you can then send to AE no problem.
Alex Udell
Editing, Motion Graphics, and Visual FX -
Exactly.
The way you write it, one might think it wasn’t available at all…
just wanting to make it clear.
🙂
Alex
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Hey Walter…
you probably know this…and based on your comments…the nuance you are looking for is the mixer itself…
but audio automation can be added at the clip level via rubber banding on the timeline….or keyframing within the effects controls of a clip.
On the timeline, it just depends on whether you’re viewing clip vs. track automation on the audio tracks.
Clip automation will (obviously) ripple with the clip…where as track level automation doesn’t…
again…I’m sure you are probably aware…just thought I’d mention it to be sure…..
Alex
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Hi…
replace with comp needs a contiguous selection as it creates a single AE comp from a multi-select.
1) you can send each shot to AE individually
2) you could make sure you were at picture lock and simply import your entire PPro seqeunce in AE
3) you could identify the reels of the clips and grade the source in AE, then shot replace in PPro using a dynamic linked comp
4) You can multi select clips in PPro, Copy, and paste them into an AE comp (but this still only makes one comp)
there’s probably other ways…but I haven’t had coffee yet. 🙂
Alex Udell
Editing, Motion Graphics, and Visual FX