[Herb Sevush]

[Walter Soyka] “I think this is an big oversimplification of Anywhere that misses the entire collaboration architecture.”

Absolutely. I would very much like to hear the opinion of someone like Mark Raudonis, someone who is very familiar administrating collaborative workflows on a large scale. Anywhere is still a financial reach for me, but it’s looks promising.

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

[Herb Sevush]

Great article. Thank you Oliver.

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

[Herb Sevush]

[Walter Soyka] “For me, the question of timing — when to adopt a new technology — is just as interesting, challenging, and exciting as choosing which new technologies to adopt.”

Timing is a major dollar question for sure. I’ve come to believe that with hardware I always want to be behind the curve and with workflow a little ahead. One of the problems with timing hardware is that it’s not nearly good enough to make the best choice on the merits, because often a technically inferior option will win audience share due to non-technical realities (in other words, the stupidity of man.). Deliverables are dependent on the market, if not I wouldn’t still be dealing with Quicktime. Same goes true for dealing with origination codecs. The one place I can afford to be aggressive is in the space in between those two fixed points.

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

[Herb Sevush]

[Bob Zelin] “Film editors (the old ones that cut film) thought that linear video editing was for kids”

While I’m with you on everything else, I still believe this statement to be true as far as actual editing was concerned. Which is why I jumped on the non-linear bandwagon so quickly.

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

[Herb Sevush]

First of all, my answers ae based on using CC2014, which is much improved over CS6, especially in multicam, and therefore some of my replies may not match to what you are seeing.

[Brent Troutner] “Based on online, practice and reviewed help sections it seems I need to:
*Import the 3 main show clips into the project
*Select all 3 clips, putting the one with the best audio first
* R Click create multi camera sequence”

So far, so good.

*R click on new sequence and open in timeline creating a blue timeline
or
should I select on the new sequence, right click and make new sequence, creating the green multi timeline?

I don’t have any idea about these blue and green sequences. Once you’ve made the new multicam sequence you simply place it into another timeline – this new timeline is the one your actually going to be editing in. Do not right click and “open in timeline” – that command takes you to the actual multicam source sequence and opening it allows you to add filters to angles and re-arrange the angles, but it is not for editing.

Based on the above described program needs, is it better to edit in regular timeline or multi camera? (I’m guessing multi- so I can see all views and pick the least bad…

multicamera

After doing a couple of trial loads I can rough cut the show using just the 3 cameras, pushing the record button and then selecting the camera shots …is that the methodology for using multi-camera?

I prefer to lay the clip in the new timeline and then use the number keys to cut between angles.

If so-
*Is it better to separate the show into numbers and edit those as separate sequences, adding them into the timeline? If so, edit those as multi camera sequences?

Since you have only one long multiclip I don’t see the big advantage of chopping it up into numerous shorter timelines, but that’s just a matter of preference, either way will work fine.

*I can’t seem to get the audio to show waves in multi…what am I forgetting to do?

That’s a problem I believe in CS 6.

*When I drop one of the preexisting videos into the multi-time line, the video plays back, but not the audio…

You shouldn’t be dropping anything into the source multicam tmieline. If your talking about the editing timeline, there’s nothing “multi” about it, it’s just an ordinary timeline that has some multicam content in it. It will behave like any other timeline with non-multicam material.

*I’ve been trying to answer this one, but can’t find the answer- after doing a rough edit with the multi-camera, how do I change the location of a cut if I don’t like it or the timing is off? Is that where using J&K and K&L are best?
“

You change the location of a multicam cut exactly the same way you change any other cut – same tools, same methodology.

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

[Herb Sevush]

[Tricia Coyne] “When using CC’s multi-cam source sequence option, it understandably thinks each clip is a new camera/angle”

With the multiclip in the browser, right click on it and chose “open in timeline.” When the timeline opens simply move all the clips of camera 1 to track 1, and all the clips of camera 2 to track 2. Consolidate the audio tracks as well. Remember that you can’t open a multiclip in a timeline by double clicking, like you would a normal clip.

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

[Herb Sevush]

[Brad Bussé] “and vice versa for footage on track 1.”

No, you don’t have to un-tab video track 2, because video track 1 is the lower track and has precedence. As long as Video 1 is tabbed you will always be able to see the matrix on it, no matter what the tabbed state is of the other tracks.

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

[Herb Sevush]

[Brad Bussé] “How can I see it on all tracks?”

The multicam preview monitor (the left side matrix in the program monitor) only works on the lowest tabbed video track. If your material is on track 1 and it is tabbed, you will see the matrix. If your material is on track 1 but it isn’t tabbed, you will not see the matrix. If you want to see the matrix based on clips on track 2, then track 2 needs to be tabbed and the track 1 tab needs to be off. There is no way to have consecutive shots on different video tracks and have the matrix show them both. The good news, such as there is, is that you can cut and switch angles on a clip that isn’t in the matrix – the angles are still available even though the preview monitor isn’t showing them.

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

[Herb Sevush]

[Simon Ubsdell] ” we’re really happy with how it’s turned out – a lot of work but worth it, I hope.”

Because of all the multi-camera work I do I have been searching, for years, for a simple color matching solution. Our studio camera’s are color corrected by a fine technician, and because of this the producers don’t feel the need to spend for a full grading session for our shows. However our location work is often run and gun, and matching those cameras is a PITA. I’m guessing it’s the second color picker that makes the difference over dedicated color grading apps, but Automatch gets me much closer, much faster. Thanks again.

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

[Herb Sevush]

The Aeron is great. Fantastic warranty as well, my seat broke after 8 years and they replaced it, no questions asked. So 12 years of use, no more back problems, for about $80/yr.

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