[Herb Sevush]

There is an option in the create multicam dialogue box, near the check box for “syncing by audio”, that allows you to specify which audio tracks to use for syncing. If you specify just Ch.1 it shouldn’t matter how many audio tracks are in the clip, Ppro will only look at the single track for syncing.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

Thank you for posting, and yes, a lot of great stuff.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Eric Merklein] “Having to live and edit in multi-cam Hades, another bug has shown its face: I can’t see wave form in my audio track!”

This can happen when you use the wrong audio set-up when creating your multiclips and you then change the multicam source timeline manually. I would have to know exactly how you set-up your multiclip before I could give you any more advice.

The Ppro multicam feature is very complex, letting you customize your workflow in myriad ways. This also allows you to hang yourself by making wrong choices. It would be nice of Adobe to actually spell this out somewhere, but their documentation is notable for it’s absence.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

Simon –

I’ve been following this thread but I’ve been out shooting for awhile and haven’t had time to put my thoughts together, but this morning we have a late call, so here goes.

Unlike some, I’m quite comfortable with the “bin and timeline” paradigm that has evolved in NLE editting. I have a long list of irritating bottlenecks to my work, but all of them could be addressed within the current methodology, so I’m not looking for any new workflow revolution.

What I am looking for is a totally different editing environment, where editors like me have direct and continuous feedback to system designers, where both designers and users are part of the same community. I need to feel like someone is listening when I’m talking and where not only do I get answers, I get explanations when the answer is “no.”

I’ve had something near this type of relationship a few times in the past and I can’t really quantify how much pleasure it brought to my work-life but I would give up a lot of technical innovation to be working within that sort of environment again.

I’ve spoken of working with *edit before, but during the turbulence of it’s demise many of the members of the Cow’s *edit forum made a concerted effort to form a co-op with the system designers to buy the software from Autodesk, an effort that failed quickly and quietly, but was the kernel of an editting “revolution” I would gladly sign up for.

For now I am content to anonymously utilize whatever tools the market spews out, separated from the source of my code by layers of bankers, market researchers, lawyers, and other assorted twits, where my biggest choice is whether to use bins or keywords.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

Eric –

Adding color correction to clips within a multicam group should have no bad side effects, I do it all the time with no penalty. It might be that upgrading to 12.1 is the problem, I haven’t upgraded yet, so I can’t offer any help there. Before making that assumption let me ask you a basic question – did you use the Ppro “make multicam” dialogue to create your multiclip and if so which of the audio types did you specify – “Camera 1”, “All Cameras” or “Switch Audio”? This is very important to understanding where your problems may lie.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Eric Merklein] “The Premiere Pro multi cam system is a second rate mess.”

I use Ppro multicam every day and have none of the problems you seem to be encountering. If you can be more specific about each issue I could possibly suggest a solution, otherwise it sounds like you have either a corrupted project or a bad install.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Jennifer Smale] ” Is there a solution or workaround that allows all the tracks to be viewed from a multicam in the editing sequence?”

Yes.

If you want to see all the tracks from all the cameras then in the “create multicam” dialogue box, in the bottom selection window choose “all cameras” not, as I am suspecting “camera 1” which is the default choice.

“Camera 1″ is great for using second source audio or when your only audio sources are coming from a single camera, or when all your cameras have the exact same audio.

Unfortunately there is no way to switch a multicam clip between different audio layouts once they are created. You will have to create the multiclips from scratch to get what you want.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Scott Witthaus] “Wait. Is this supposed to make me switch to Premiere?”

No, but it’s one less reason to switch to X.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Brett Sherman] “All this to say that I question “efficiency” as the primary motivating factor in the Hollywood world.
“

While I agree with this statement I don’t think has anything to do with padding prices.

In a feature film any efficiancies produced by better timeline handling is trivial to the task at hand. On top of that feature film workflows already utilize many sorts of database management to organize the footage, dwarfing the abilities of FCPX ( or any other NLE) in that matter, especially with films dealing with large amounts of CG. Any modern NLE will do the job as long as it contributes to the “comfort” of the editor and director, and maximizing their comfort is where the efficiencies truly lie. Which is why Hollywood is often a technological backwater as far as editing goes – films were still being cut on upright Moviolas long after everyone else had switched to flatbeds because that’s what certain editors were comfortable with.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf

[Herb Sevush]

[Bill Davis] “For decades, Sony’s R&D and thinking drove much of my business success. I came to depend on them for solutions I could afford and what would best leverage my budgets and time into DOLLARS in return. They took me through decades of success early in my career”

And then they hit a bad spell and if you didn’t get off that merry-go-round it would have cost you. The thing is you never know when that bad spell is coming.

[Bill Davis] “In both cases, the brand loyalty helped me thrive”

Why be loyal to them when they’re not loyal to you? Buy their stuff when it makes sense, don’t when it doesn’t, but never fall in love with a corporation because I’ll guarantee it’s not requited.

Herb Sevush
Zebra Productions
—————————
nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf