[Herb Sevush]

The answers I’m giving you are for the Creative Cloud 2014 version. Don’t know how much of this holds true for PPro6.

[Brent Troutner] “do I need to sync the beginning of each clip or does the TC take care of that?”

TC takes care of syncing.

[Brent Troutner] ” It appears my the camera I’m using for the main video and audio track is off a bit- “

Off a bit in what way? is the TC off from the other camera, if not then what are you referring to?

[Brent Troutner] “How do I view each camera at the same time, so I can compare footage?”

You make a multicam timeline by selecting the clips in the browser for a particular group and then right click and chose “create multi-camera source sequence.” Once the “multiclip” is made you can play it back in the source window or place it in the timeline and you will see all the angles play back in sync.

You might want to look at an article I just wrote for the COW about Ppro multicam workflow –

https://library.creativecow.net/sevush_herb/Multicam-Premiere-Pro/1

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

[Herb Sevush]

First it would be good to know which version of Ppro you are using. The multicam function has evolved quite rapidly and the answers to your questions will be quite different based on the version.

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

[Herb Sevush]

[Simon Ubsdell] “Trivial things to countless other users but essential to virtually every editing job that I undertake, and hence non-negotiable must-haves. For me.”

The most enlightening thing about this forum is the exposure to so many widely varied workflows. Features that are deal breakers for me are less than meaningless to to so many others. The depth of most NLE software is quite amazing – and it’s getting deeper, not simpler, as time passes.

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

[Herb Sevush]

[Brett Sherman] “I wonder if those who can’t handle the FCP X timeline have difficulty learning new things. Or they’re just impatient”

Or perhaps you just might want to consider if, and this is purely conjecture of course, they might have (emphasis on might) a somewhat different editing style than yours, different editing priorities you might say; one that isn’t as conducive to the X paradigm. Of course your probably right, they’re probably impatient, learning disabled neanderthals, but what the hell, why not give some of them the benefit of the doubt.

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

[Herb Sevush]

[Bill Davis] ” I pull out my iPhone turn over every sheet before I file or trash it – and if there’s ANYTHING on it, I snap a cel phone photo. “

Great idea, thanks for that.

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

[Herb Sevush]

[Franz Bieberkopf] “I’m wondering how many still use “analog metadata” “

I use two basic forms of “analog metadata.”

The continuity notes I get at the end of a shoot are an incredible time saver, well worth the cost. I ingest, create multiclips, then go thru my script and assemble, each show having the clip numbers written in against the script. Many people think they can’t afford to have someone do this, but I estimate I save a full day’s work for each episode, 26 days lopped off the post schedule, all for the cost of a continuity person for 13 days.

The second type of “A-M” are the hastily written notes scribbled on the backs of old scripts (no notepads for me) – timecode numbers, bits of dialogue, clip names, anything that comes up. They are randomly scattered all over my desk and searching thru them can be a nightmare but I don’t know how to work without them. The scary moment comes when an episode is finished and I decide to clean up my work space knowing that, dollars to donuts, I’ll be looking thru the trash sometime in the coming weeks searching for that one note I should have kept.

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

[Herb Sevush]

[Walter Soyka] “Before this thread, I naively assumed that we could have all agreed on a kind of colloquial definition that destructive operations “eat” their sources — that a destructive operation alters the input directly, and that a non-destructive operation modifies an object’s output.”

This wider definition is fine so long as its understood that every time you modify a clips length or position on the timeline you are committing a “destructive” act – every time you trim, move, slip, slide, or delete a clip, or group of clips, every time you change an opacity level or color correction you have committed a destructive act. Under this definition pretty much anything other than assembly is destructive, at which point the phrase becomes close to meaningless, except when using adjustment layers or maintaining some kind of dynamic history, neither of which is very prevalent in most NLEs.

Adjustment layers are now in use with Ppro, but if I change a value in the adjustment layer, an opacity value lets say, isn’t that destructive as well, since I no longer have the value of the original opacity setting in that adjustment layer? To me adjustment layers are non-destructive only in the narrower sense of the word – you haven’t “baked anything in” to the way the media is presented. But you will lose information as soon as you change the adjustment layer itself, its just that this loss of information does not equal a loss of future choices.

I think I like this better; an act is destructive when it limits the future options you have in regards to both the media and its representation in the software. Once you’ve added a blur and flattened a layer you no longer have the choice to work with an unblurred image in that object – it doesn’t have to have blurred the original media, but it does have to affect the object you are working on in an irreversible way. A deleted clip can simply be edited back into the timeline, you have that choice. A flattend image cannot become unblurred, no matter what you do. You can create a whole new object using the same media, but that’s not the same thing. I think.

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

[Herb Sevush]

[Craig Alan] “No advantage to have these in the NLE? Which take the director liked (favorite the clip and now you can sort the clips without turning to the notebook). Or even just typing in C1514R_213 in the search field rather than scrolling through 213 shots? Or let me just sort all the director’s picks and then sort them by angle or subject? “

I do see the advantages of keywording and if Adobe would add it to Ppro I’d find ways to use it. but I’m not willing to trade customizable screen layouts, much less organizational track layouts to get it. It’s all about priorities.

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

[Herb Sevush]

[Franz Bieberkopf] “If nothing else, I like to think of this forum as one long demonstration on the weaknesses of analogy in argument. It never disappoints in that respect.”

I like to think this forum often demonstrates that weak analogies and poorly chosen metaphors reveal lazy thinking; my latest attempt being a prime example. On the other hand metaphor and analogy are, in every culture I’m aware of, one of the primary tools of human communication, and while less accurate, in some ways, than mathematics and logic, are generally much more fun. When chosen wisely.

[Franz Bieberkopf] ” re: “structure” in NLEs … I wouldn’t want to throw out the baby with the soup. From what I have seen, all of them could use more development in terms of “grouping” clips in the timeline.”

As to story structure and NLEs – I’m not saying there isn’t room for improvement, I’m merely saying I don’t understand the need to develop software with that as the core interest. But then again, as my family reminds me on a near daily basis, I’m often wrong.

I think the saying goes “often wrong, but never in doubt.”

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

[Herb Sevush]

[Craig Alan] “Isn’t the first thing you do after production wraps or even before, is go through your clips (you meaning you and all the editors and assistants that work with you) and sort them out and label them in some form or other”

The show I work on records to AJA Ki-Pros and all the clips are meaningfully labeled as we shoot. AJA makes special control software that enables us to do that. While I realize that X has great tools for post logging, I don’t really need them.

[Craig Alan] ” You do not find it helpful, as one of a ton of features like this, that now you can tag clips in the finder and its imported as a keyword collection? “

A typical clip would come to me named C1514R_213, which tells me this clip is from the C camera (we use 5 cameras) season 15 episode 14 (we’ve been doing this a long time), the type of segment is a Recipe and its the 213th clip we’ve shot during production. The continuity department has sent me a notebook and using that clip number I know exactly what part of which recipe (most episodes have 2 recipes) it belongs to, what day it was shot on, what other shows were shot that day, and what the directors and producers comments were about that take. What exactly would I need keywords collections for?

[Craig Alan] “One feature I used in FCP legacy, for example, that really needs to be there is to make custom layouts of the program that you can easily toggle between. Color correction – keyboard shortcut: scopes open, my viewer a certain size, the inspector open and on the visual tab, the browser and library windows closed, the audio meters closed, the effects browser open. Now I have to open and close all this stuff and resize it and its tedious.To me that’s kinda of a structural thing. Ergonomics.”

That’s not story structure, which is what the software that started this thread was concerned with. On the other hand I agree that custom screen layouts tied to shortcut keys are an excellent feature for an NLE to have.

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