[Herb Sevush]

[Andrew Kimery] ” Ever think about convincing Adobe to let you write the PPro manual?”

I’ve been trying to convince Adobe to have someone / anyone write a manual to no avail since I started using it and found out that Adobe thinks written manuals are so “yesterday.”

[Andrew Kimery] “So if I load a clip with 8 audio channels into the source monitor, but only have A1-A3 activated, PPro will automatically create 8 audio tracks in my timeline (assuming it has less than 8 to start with). even though I only have 3 activated.”

Which is why I don’t use the All Cameras option. Most of the time (95%) I’m using a single mixed track and I don’t want to clutter up my timeline with audio elements that I rarely use, which is why I use the Switch Audio option. In this option you can also move your audio tracks around without penalty at any point – the biggest issue for me is the inadvertent audio replacement that happens when switching video and forgetting to disable the audio track. I’m trying to get Adobe to work on this but apparently Virtual Reality is a bigger priority at this point – VR, this year’s 3D.

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

[Herb Sevush]

[Ryan McAdam] “I’ve been writing automation scripts in After Effects for a while now and am familiar with the process and documentation.”

Ppro doesn’t have any “scripting” abilities – you can make third party plug-ins, which is something I know nothing about, but there is no scripting automation similar to what you have in AE.

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

[Herb Sevush]

[Darren Lee] “I have two camera tracks each with their own audio, but I want both cameras to use both audio tracks at the same time. This doesn’t seem possible, as when switching cameras it switches the audio too”

When making your multiclips chose “All cameras” in the audio portion of the dialogue box. In your case this will give you all 4 tracks of audio whenever you lay down a clip.

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

[Herb Sevush]

[Andy Neil] ” I’ll try the Switch Audio version although I’m not really clear about the implementation. Is it like Avid where you can right click and change the audio source in the timeline?”

Switch Audio is basically an “Audio follows Video” feature. Whichever video angle is chosen, the audio from that camera is now the active audio source. Once edited into the timeline you can right click any clip and under the multicam heading you can change to any other audio source or if your video track is disabled you can change the audio under the playhead by using the “replace angle” keyboard shortcut. You cannot change channel origination this way – if the clip you are currently on was from Camera 1 Ch.1 you can change to Camera 2 but you cannot change to Ch.2 from any source this way. If I need to change channels I match back to the multicam and relay the clip with the desired Channel targeted.

The biggest problem with this setting is that it will always change the audio whenever you change the video if the audio channel has been targeted, i.e., if my multiclip audio is placed on track 1 in my sequence and the track 1 target is enabled then if I cut the video from camera 1 to camera 2 using the multiclip controls the underlying audio will switch to camera 2, even if the audio channel selector isn’t on. The way to avoid that is to leave audio track 1 disabled or to lock track 1.

The other quick note I will add is that in the sequence panel menu, not the wrench icon but the dashes in the tab at the top of the sequence, there is a feature called “multicamera audio follows video.” Under no circumstances should this be enabled – it will force cut marks and audio changes in your audio tracks no matter what is enabled or locked. It is the devils own option and is to be avoided like the plague.

As for the effect of opening a multiclip in the source window – that’s news to me but might explain some weird behavior I have seen with the 1 Camera setting. Thanks for passing that on.

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

[Herb Sevush]

[Andy Neil] ” Can you elaborate on how the three types are different and why you can add sources after the fact to Switch Audio and All Cameras but not Camera 1?”

To help understand multicam audio in Ppro you first have to understand the different types of audio tracks in Premiere. There are mono tracks, which contain 1 source and can be panned right or left, there are stereo tracks, each of which contains a stereo pair, and there are “adaptive” tracks, premiere’s own gift to mankind, which can contain any number of source tracks and has it’s own individual patching system. Adobe has always had this fascination with complex tracks, in fact in it’s first iteration if you imported a clip with video and 2 audio tracks it could only be imported as a stereo pair – to get 2 mono tracks you had to add filters and jump thru all sorts of hoops. While you can now import 2 tracks as dual mono, this tropism toward complex patching of individual tracks still remains. Now to multiclip audio.

1 Camera multiclips – uses mono tracks. The first audio source will default to a double system audio clip if that’s included in the group or the audio from the first camera, if no double system audio is present. The audio from this clip is panned left and right and appropriate channels are selected for this source if there are more than 2 channels. All other audio tracks, that is the audio from all the other cameras, are muted. This works great if you have double system sound and don’t need anything else, or if you are happy with the audio from the first camera only. If you try to un-mute the other cameras it screws up the multiclip and you will have all sorts of problems trying to work with it.

All Camera multiclips – uses mono tracks with all sources panned left and right. When editing with this selection everything is available at all times but your then stuck with dealing with multiple channels of audio in your editing timeline or else the need to constantly be targeting and un-targeting all of these channels as you need them. I haven’t tried using double system audio with this setting so I don’t know what the issues would be under those circumstances.

Switch Audio multiclips – uses a single adaptive track for each audio source and patches it so you can access all channels during editing. I use this setting most of the time. It allows you to access every audio channel of every video source but assumes you want to edit them all to one of two channels on your timeline. The main problem with this setting is that it will change the audio source whenever you change the video source if the audio channel is targeted at that time – this can be a PITA but it’s easy enough to work around when you need to. Again I don’t use double system sound with this choice so I’m not sure how it would behave – my guess is it would show black in the camera display but otherwise act like any other audio source in the multiclip matrix.

Ordinarily I tell anyone working with double system audio to use the 1 Camera setting and anyone using audio split out to multiple cameras to use the Switch Audio setting. Your need is a hybrid, and I’m guessing Switch Audio would work best for you.

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

[Herb Sevush]

[Andy Neil] “Can you elaborate on how the three types are different and why you can add sources after the fact to Switch Audio and All Cameras but not Camera 1?”

This is actually a very complex question and I’m going to do a little testing tonite to make sure I give you a correct answer. Ppro has always had a very complex way of handling sound and this complexity gets geometrically worse when dealing with multiclips.

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

[Herb Sevush]

Andy –

When making multiclips in Ppro CC there are 3 ways to handle the audio – “Camera One” “Switch Audio” “All cameras.” There is no simple way to tell after the fact which choice was used, and no way to change the way they behave, which can lead to problems because the multiclips handle audio very differently in each case.I’m guessing that when these clips were made the choice was “Camera One” which is a great choice for double system sound but does not allow you, in any way, to add audio from any other sources. Your best bet might be to remake the multiclips and choose”switch audio” or “all cameras” as your audio option.

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

[Herb Sevush]

Here’s an “over the top” article about it.

https://www.redsharknews.com/production/item/3380-is-lytro-s-new-755mp,-300fps-cinema-camera-the-biggest-leap-in-video-tech-ever

For now it’s strictly a rental camera for high end EFX. 3 years from now it might be standard kit. The ability to Key based on “distance from background” will be major. For the rest I’m not too excited about handling focus in post – but when cpu and storage advances make this available as an iPhone option, it will be handy to have.

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

[Herb Sevush]

[Oliver Peters] “Obviously the off-axis angle adds a bystander or voyeuristic element to the perception. The in-the-lens approach implies that the subject is talking directly to you. But is there really a right or wrong to doing this?”

Above and beyond the aesthetical considerations most interviewee’s are uncomfortable talking straight into a camera. To get a great interview, which trumps any consideration of eyelines or anything else technical, is the primary concern during production. Unless you have a setup where the host is supered over the lens, it’s very hard to get a civilian to have a meaningful conversation with a piece of glass — just like the audience wants to read the interviewee’s eyes, the interviewee wants to read the interviewer’s eyes.

for years it had been SOP to have the interviewer sit/stand as close to the camera as possible to obtain the most direct connection for the audience. In modern times the use of a reverse angle on the interviewer nodding in apparent agreement with the subject, often shot after the interview was over, became anathema to a younger audience – it seemed a badge of insincerity. With the advent of multiple camera interviews the use of a second, “profile” angle was born to help hide the jump cuts and give a bit of “style” (bad is good)to an interview. From this it was merely another step to have the profile camera become the only angle – what can be more hip than intentionally screwing with the “rules” – and then to mess with any sense of proper framing while doing so. We have now arrived at the point where bad angles and poor framing are no longer being used to imply “hipness” they are merely indicators of a lack of visual education. My guess is in a few years young viewers will become entranced with the latest gimmick – on axis angles and classical framing – and we can go to our graves with a smile.

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

[Herb Sevush]

This site has motype for $49

https://fxfactory.com/premierepro/
https://www.youtube.com/watch?v=BC__sAqVUEc

For more money there is Titler Pro

https://www.newbluefx.com/products/titling

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

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