[Bill Davis]

Actually no, Kevin, I was just replying to the thread in general.that started with Mr. Ranmar’s post.

I suppose I should have backed up and posted to his comment, but I usually see threads as on-going conversations here like email strings and don’t consider my attachment point to be taken as that specific.

If it confused you. Sorry.

(and of course this response IS to your post directly above! ; )

“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 Davis]

Lets be fair here.

When X was introduced the first week everyone piled on and gleefully reported every little thing that didn’t work to their satisfaction.

Some of us suggested that any brand new product requires time to mature and stabilize.

That was my assessment about X when it was released, and in my opinion it’s every bit as fair an assessment about Premier Pro 6 now that it’s been released.

If Adobe doesn’t address what might appear to be early stage flaws in a few months – fine. But at least give their dev team time to get the feedback from the real world and let users have enough time to do more than walk around and kick the most obvious tires.

That’s my opinion.

“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 Davis]

Thank you one and all for the feedback.

I came to HD nearly exclusively via spot conversions for HDTV – so my orientation was always interlace domestic broadcast compatibility first and foremost and so I seldom set up a timeline for progressive.

Now that more and more of my work is migrating to the web, this is very useful workflow info.

Much appreciate everyone’s sharing.

“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 Davis]

Well….

I also think good advice is not to get all flustered and come into groups like this and shout about a “*terrible problem” that actually turns out *not* to actually to be such a terrible problem.

Doesn’t do much to inspire my confidence in someones posting ID, IMO.

Last time I looked, patience and judgement were more valuable commodities than panic and our instant culture’s desires for all of us to be “first” to discover something that might or might not be relevant.

Coming on a board and noting you’re having a problem and watching the discussion to see if large groups of folks are having the same problem is helpful and good net citizenship.

Shouting dire warnings in thread headers? Not so much, IMO.

My opinion only.

“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 Davis]

See,

It’s not a bug, it’s a feature!

Actually, now that I think about it, that’s precisely correct.

It’s a change to the foundational OS that’s going to be useful to a zillion folks who want to go “right back where I was” when exiting and re-entering their computer use – and temporarily annoying to Video Editing Disk Image users until we understand the new process.

Ah, the digital revolution. It’s so much simpler!

“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 Davis]

Got it.

It’s traditional “pantomime” pop music video production not actual performance recording, so multicam should work great.

Carry on.

“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 Davis]

[Bret Williams] ” I’ve just finished 2 24p 5D pieces.”

Bret,

I’m curious why you’re shooting 24p.

Is it going to film? Are you seeking for smaller web files? Are you looking for time effects by mapping 24p to 30i for NTSC playback? Is there something about the film cadence that you like aesthetically?

Just genuinely curious as to why non-film destination producers (and I have no idea if that describes you or not!) keep working at 24p so much when so little content actually gets transferred onto celluloid these days.

Seems odd, but I realize that there are a wide variety of reasons possible from client specifications to personal preferences, and was just interested in which of the many yours might be?

And for anyone else reading this and similarly working in 24p – why was that your choice?

Thanks.

“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 Davis]

If you guys have this right, then sure, multi clip is the right answer.

I just read this….

“I have loaded the .wav as the main story line, and manually synched and stacked all 3 takes on top of the audio.”

And in my brain “3 takes” means three distinct passes with one camera through the same material.

That’s traditionally what “3 takes” means after all.

Now there are plenty of people who mis-apply classic video terms every day – and for all I know, that’s what’s going on here. But he didn’t say 3 angles, or 3 cameras, or three shots – all of which would have put me in the same place you guys appear to be. He said 3 takes.

So my presumption was that he was describing his process accurately and was using a single camera to take three runs through a band playing the same song 3 times – once shooting it CU, once MS, and once Wide.

If so, my advice stands because you can’t convince me that multi-cam will do a professional job if that’s how this was shot.

Maybe he’ll come back and set us straight.

“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 Davis]

[Andy Neil] “Heck, you can even cut up a take and spread it out over a single angle to account for differences in performance.

Multiclip editing is still the easiest way to do this.”

Maybe I’m just overly sensitive about this since I’m working on a 12 camera Jazz performance video right now, but time and tempo are, in my view, the very essence of any music performance.

If you simply stack up three different performances – even of the same tune – I’d think that at every single cut, you’d run into the potential to have either the music track or the visual presentation out of sync.

You could cut from both the audio and video of take 1 to the same place in “take 2” but if the performance tempo is off between those takes – and I suspect it will be through human variation – you’re going to risk at least a fractional jump cut and the need to trim at every single edit – unless the performance is keyed to a click track or some other time synchronization.

Maybe this isn’t important in the type of performance the OP is posting. And I can accept that.

But in my world right now cutting jazz performance, the GOPro shots of the jazz drummers pedal work have to be absolutely and precisely “in time” with the music being both seen and heard or I’m not doing my job properly. And I can’t fathom how you can do that if you’ve recorded three totally separate performances and want the visual of Take 1 measure 20 to align with the sounds recorded during Take 3 measure 20.

But maybe I simply don’t understand this well enough.

“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 Davis]

That’s not going to work well because these aren’t really “multicam” clips. They are three different performances – each, I suspect, with their own variations in tempo and performance.

If the band played to a click track or some other synchronization timekeeper, it might work, but you’re essentially needing to create one performance out of parts of three different ones -and that is going to be more complex than traditional “I have 3 cameras shooting at the same time” true multicam approach.

Without having the time to think it through more carefully, you might play around with cutting all three of your stacked clips into smaller “best of” chunks, possibly around solos, sections or just where a great look or performance takes place. Then Disable the upper connected clips as a group (V-key) and work on doing the same for the middle level clips. When you’ve made your selects this way – you can use Disable/Enable to show or hide each clip layer in your connected clip stacks and trim from there.

That’s one “off the cuff” strategy that springs to mind, but hopefully someone can come up with something better.

“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