[Herb Sevush]

[Oliver Peters] “I understand your dilemma. In my case, though, usually those design choices are figured out ahead of time. Typically we look at existing styles and pick one to copy”

That’s generally been my situation as well, but the reason for my rant coming now is that I have an old show with a new producer and new cast and the credits have grown exponentially while the time to display has shrunk. A credit roll is a very simple database and should be handled that way – and once the data is gathered (the hard part) and entered (the tedious part) it should be child’s play to display it any way you want. The Photoshop-AE method is basically the same way things have been done since the turn of the century – and I’m talking the 20th century – and I’m just amazed that nobody wants to do this right.

The reason your still going PH-AE is not that it’s the ideal, merely that it works, in comparison with all the other options.

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

[Herb Sevush]

[Oliver Peters] “Why? I’ve used Photoshop numerous times for shows and features and I find it by far the easiest of all the methods.”

How easy is it for you to show the producer the difference between single and double column layouts when using Photoshop, or change the color of all the job titles without affecting the color of the names, or switch between All Caps and Uppers & Lowers for cast names only?

I get these kind of requests all the time and they should be simple to do, even on 1000 line credits. My current project has about 300 lines of credits for a :30 roll. It goes by too fast for a single column layout, which is what we normally use. I want to show the producer what it would look like in “feature” style double columns, with break outs for single columns in certain areas. I find it absurd that in this day and age I have to spend hours on something that should be near instantaneous, once you’ve entered the text data.

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

[Herb Sevush]

[Noah Kadner] “Perhaps you should check out-

https://endcrawl.com“

I know about this site – I’m guessing t’s for features and probably a little expensive for our show, but I’m keeping it in mind. I shouldn’t need a third party to handle this – I’m about to use some 10 year old software which, once I load it, will probably work fine.

I’m just surprised my choices are so limited for something so essential and easy for a computer to do.

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

[Herb Sevush]

Danny –

Everything I cut is multicamera and for the last 2 years it’s all been on Ppro. During that time I’ve had about 3 timelines that got “corrupted” in one way or another and that caused me the kind of grief you’ve been having. I’ve never figured out why and it seems like you’re having one now. I will give you one piece of advice and maybe this will help – turn off “composite preview during trim” in the timeline wrench menu – this is a known cause of audio problems if you use audio effects and I just always keep it off as a general practice.

Good luck.

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

[Herb Sevush]

Glad I could help.

Good luck.

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

[Herb Sevush]

I have not been able to duplicate your problem with the names of audio files – the original names of the audio appear in my timeline just as the original names of the video clips appear in my timeline. There are only 2 possibilities that i can think of – Either there is some setting in your timeline preferences or in your multicam preferences that is causing your problems.

Please list all settings that have a check next to them in both the “wrench” menu and the “3 line” menu in your timeline.

Then tell me exactly what settings you use when making your multicams – specifically how do you “name” them in the top of the MultiCam dialogue box and which of the 3 options do you choose in the audio portion of the dialogue “Camera 1″”All Cameras””Switch Audio”. This last is very important because PPro actually makes 3 different types of multiclips based on which of these 3 options you choose.

I would need to know what you are trying to do with your audio tracks to advise you on which of the 3 options to use. From what I can see you have 3 different audio wave files of different lengths along with 7 cameras that also have audio with them. This is highly unusual in that generally if you were doing double system sound recording there would be only one multitrack source for that, as opposed to the 3 you have. Do you need access to all of your audio sources, if not which ones will you use and finally will you need to hear multiple sources at one time or generally just one specific track, although the source may vary, at a time?

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

[Herb Sevush]

[asher lewis] “The ‘sync map’ is the sequence I have out of Plural Eyes;”

My first bit of advice would be to forget about Plural Eyes and create your multicam sources directly within Ppro, unless you have very simple audio requirements, because for anything with complex audio you will need access to the options within the “Make Multicam” dialogue box. Select your clips in the order you want them to appear in the grid, right click and choose “Make Multicam” and then a dialogue box will open up. At the top it will give you the option to sync via Timecode, Audio or In Point – choose the one you want. The next important item is in the audio section – where you have to choose between “Camera 1” “All cameras” & “Switch Audio.” If you recorded audio on a separate multitrack recorder that has all 12 channels of your audio, then choose “Camera 1”. If you recorded audio on your Camera clips, then my suggestion would be to choose “All Cameras”. All other choices on the menu can be left at the defaults.

Once your clip is created you then have to make a new timeline to edit into. This new timeline only needs to be 2 channels if your final output is stereo, you don’t need 12 channel output just because you have 12 channels of input. Make sure you have 12 audio tracks (as opposed to 12 channels) and then when you load the multicam clip into the source viewer you will have the ability to record to 12 tracks on your timeline.

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

[Herb Sevush]

[Danny Baron] ” 3. Make New Sequence (which flattens synced video layers). Then the sequence from step 3 is the sequence I edit with”

This is what I am trying to understand and to do that I will avoid the word sequence and use timeline instead.

You should only have 2 timelines to start with – the multicam clip you created (which is actually a special type of timeline) and the timeline you are editing the multicam clip into. There is no need for a third timeline. So how many timelines are you using?

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

[Herb Sevush]

First of all, what version of Ppro are you using.

Second, what is a “sync-map sequence”?

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

[Herb Sevush]

[Danny Baron] ” Once I take the parent multicam sequence in which all tracks are named as they are in the original file (Either an audio only file or named as their camera). Then when I make a New Sequence from that all the audio files are given a single name.”

What do you mean by – “when I make a new sequence from that.” To use multicam properly you need to create it, then use it as a source in a separate “editing” timeline. This “editing timeline” can be created from scratch or can be created by choosing one of the source clips that you used to make your multicam source, then right click and choose “make sequence from clip.” Once that sequence is created, delete the source clip and put the multicam source, or sources, into the timeline and start cutting. You should not, however, use “make sequence from clip” while pointing at the multicam clip – that will totally screw you up. Is that what you were doing?

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