[Ht Davis]

Sounds about right to me.

Just remember, though, your audio will be slower as well, and it will probably need some work.

If done with action shots, you can drop most of the lower volume audio, then any louder audio can be amped. If done with speech, you could adjust the pitch to normalize or denormalize to get the effect right for the emotion of the clip.

I also use twixtor for a second or two of motion correction in slowmo.

[Ht Davis]

When you multi cam the video, do you multi cam the audio or is it all one audio stream?

When you multi cam, it combines all the audio in the nested track, unless you turn off audio streams in your original sequence, which can have unexpected effects.

When you multi cam the video, Alt\rightclick the audio and select multi cam>enable. Make sure you’ve left all video and audio tracks on in the original.

Now…

Dupe the audio track once for every cam you’ve got that you want to “Multitrack”. altRightclick each one and select which CAM (under multi cam) or video track# it was associated with in the original sequence. When you multi cam, now, you can have the audio follow the video, or you can edit mark the audio to clip in certain areas and make the “multitrack” changes. Make sure you DELETE unused Audio Data, and that you render out a small work area at a time. Alternatively, you can change audio within a track by edit marking and area, alt\rightclick and select the audio (camera) track you want; just remember to put in some kind of transition at the edit mark. Again, remember to render small work areas at a time before you do a full render.

[Ht Davis]

Interlaced?
If you use upper first in the original sequence, you need Lower first for your reverse. IF you reverse and there’s no field data, you have no frames.
Check your interlace setting. Nest your other sequence by hand. It will ask if you want to change things to match, DONT. Reverse the clip afterward, and it will play to match.

I always start with Progressive’s for this reason. IF I need to reverse a clip, I don’t have to change the field order. I can output to an interlace later. If I get interlaced footage, I use frame blending and have it go progressive, but I use high quality settings.

If reversing fields doesn’t work:
Dupe original Sequence, then set the duration of the dupe to reverse OUTSIDE OF A SEQUENCE. Create a new sequence with the opposite field order, then place your sequence in it.
Or… …Set your field order to progressive, and do the same.
Or… …Output the original to a full clip and then start a new sequence and reverse the clip in that sequence. Only ways I can see.

[Ht Davis]

I say do both. Clone a backup to restore to, just in case.
Then do a Time machine backup.
They don’t want you to overwrite system files? LOL!!! What a cubicle-robotic jack**s!
When you install OSX, you can go to the recovery environment and use time machine, then elect not to restore your system, just everything else.
Then use an uninstaller like CClean or the like to wipe all remnant of adobe from your system. Most apps will be fine if they are from apple or signed app from the app store. Others may have issues to clean up. You can fix this by wiping them from your system where needed. Like Adobe… …wipe and reinstall. Now you should be set.
CUDA issues have arisen and are currently being addressed. While it may not be perfectly sound to upgrade to yosemite, support for mavericks is being answered with “Upgrade to yosemite”. Even on my macbook pro (2008) 2.16ghz 4gbram 256mb geforce8600m. I use it to edit in CS6 at full prores. Yeah I’ve got the b**ls to do it. It gets hot, but it still works…

[Ht Davis]

With older ppro, you’re never going to do well with newer compressed formats, especially mts or the like. Do you have media encoder? (You should). Do you have Prelude? (Again, you should).

Using Prelude, you can perform the LOG AND TRANSPORT in older version CS.
in prelude, you INGEST:
You will have to navigate to the video folder and all the way down to the MTS files. You’ll have to place each one in the timeline, and check to see how and where you actually need to cut the clips. Once that is done, you can export to another format.
I suggest an AVC format, as they are compatible and high quality. Make sure you have it send out to Adobe Media Encoder, and make sure you turn on Frame blending (these cams will use and EIS image stabilizer that messes with the frame rates mid-shoot and you need to fix any missing frames). Once you’ve exported each set of MTS clips to a larger file, you can create a proxy (smaller version of the AVC intra file for editing purposes; Start with AVC100 and then make an AVC50 with similar settings). Place the large file in premiere pro. Use it to create a sequence, then right click the clip in the project panel, and unlink it. Then right click and select relink, and choose your proxy. If you set the proxy resolution smaller than your larger file, you should right click and interpret the footage to match the settings of your sequence (this will blow up the resolution).
When you finish your editing, select the proxy clips, unlink them, and select the larger files, then export your edits to the same format (or it’s proxy sized format at the same resolution).
Once the export is finished, you can compress the footage. Why the extra step? IF you do both, you may experience severe slow-downs due to multiple GFX operations being handled at once. This workflow outputs 2.5 hours of video to a full format in about 3 hours on my 2008 Macbook pro (running windows) with 4gb ram and 256mbgfx. I use Compressor to actually send the compression to another set of computers, which usually takes only about 1 hour (the frames are already rendered). IF I run it in AME it takes longer on my own system. Compressor allows me to do the more daunting operation on several machines at once. There is no real Farming operation in adobe for this yet.

[Ht Davis]

Did you try a render?
Did you manually relink the media yourself?

Did you open the original sequence and check the media there? Render it?

If you said no to any of these try that.
If you said no to all of these, Work backwards through them to save time. You may need to reenable multi cam as well.

I never use that function personally. I’ve found it creates all sorts of problems.
I keep my files on Disk Images. I can move these at my leisure, and split\archive them to optical media when finished. Let me explain…
I have a standard disk image I built with a folder structure I’ve edited as needed. I either dupe this image or create a larger one, then copy the folders to it. Then I go to work. When I want my project to move, I move the disk image. It holds everything but my caches usually, and sometimes I leave out the preview files as well. I do it myself. I get it done right.
I use Daemon Tools or the like when in Windows, and Mac has this right in the system, so I never worry about this kind of thing happening. I never have to relink either, unless I cross system boundaries, which means I have to serenader previews as well. It does depend on the size of your project. In theory, if your output matches the length of your total input, you should need just over twice your input size if you work in lossless formats and output the same format you input. Always use compressed previews; uses about 120th to 1\10th of the space of your output.

[Ht Davis]

The problem you have with Plural EYES is that the tracks cannot synchronize to COMMON SINGLE POINTS of noise, there are too many to choose from. So your solution is, I’m sorry to say, one of tedium.

First, set each clip on it’s own timeline. Mark the places where that clip has a loud point you recognize from another and then go the the waveform of the audio and adjust the mark to the articulation entry (where you actually hear the beginning of the sound), and stretch the endpoint to the drop articulation of the sound, and name the mark with the two clips where it matches. Do this for several marks in each clip.

Now nest them all in the same sequence (“but I want to do multi cam!” HUSH! We’ll get there soon) and synchronize them to the marks ( you’ll be able to see the marks as little tick marks usually, turn on snap to sync to frames first then turn it off and shift them as necessary). This will synchronize them, but you are locked out of multi cam. Can you guess the next step?
Select each nested sequence in turn, and have it replaced by it’s corresponding clip. Now they are all in sync, and you can nest this sequence into a multi cam.
It’s a little tedious, but it should make sure your clips line up using multiple points, which also means it will be very accurate.

[Ht Davis]

Upon further inspection of my last post, perhaps it was unclear.

When you want to organize the ideas and still have them all in a multi cam mode, you’ll have to copy paste into new sequences and rename that sequence. In CS6, this is easier to do than you think.

Edit mark around the clip you want to make a sub clip of. Right click and nest. This will create a sequence of this clipping, which you can now set up as multi cam. It works. Now you just do this for each one. If you have a lot of them, this will be slow going, unless you create a key press for it. This should take your “Copy Paste” to a single keystroke\keycombination and cut your work time a little. This is by far not perfect, but it would get the work done a little faster.

On a personal note:
I’ve had to set subtitles to a musical piece for a choir to use in practice. The video will be played at the performance, and was designed for the piece by the composer (so it is timed to the piece). The choir must practice and get as close as possible in their timing. There were more than 50 title placements. This was a daunting task, as I had to have the titles appear upon the vocal entries. I had to do this one by one, and let them stay on screen for different lengths of time according to their actual vocal length. I understand your plight with hundreds of clips.

[Ht Davis]

Correct with the bright\dark answer if we are talking all one clip here.

But it looks like an effect was applied to add the second image to the clip, and then the dissolve was added to a single clip. Dissolving in (with a white background) may not be the way to go in this instance.

Alternatively, try interchanging the blend modes of the effect with multiply, screen, difference, luminance and color. These are the base blend modes that, when done in order, will give you a blend then it’s opposite. If none of them work, try the next method.

Last alternative:
Set clip A on a track above clip b. Let them overlap time, i.e., let b slide into the end of A, and fade (Dip) a to black. One of these will make B will come in (with no added effect) darks first, with a cross dissolve look, since it is playing underneath clip a.
You can reverse this by moving clip B to another track, overlapping A, and placing a Dip to white on clip b where it overlaps.
If you want to strengthen this effect:
if you move clip A, place a dip to white on b, and the dissolve will be sharper.
if you move clip b, place a dip to white on clip A that is .75 to .5 the length of the one on clip b, so there will be a faster drop on A, while b is shifting in. Since the Blank of the DIP will match the background of clip B, you won’t notice changes in the background, and the darker areas will show up together onto that background.
IF they have two different sound tracks, you can fix that with keying on b, keying on a, or more effectively on both, to create a sound dissolve. IF you have one sound track and want to keep it that way, unlink the clip you move from it’s sound, then move the video only to another track.

[Ht Davis]

I figured it was something to do with the fields not lining up and running out of sync. I’ll make a note of this in a text doc and hang on to that one. Thanks for the update and info.

Even “Proper” cameras have an image stabilizer anymore, they just aren’t in use (turned off) or they get filtered through a frame reduction (going from 60fps to 30fps/24 to feel more TV like, to reduce the “Too Sharp” or REALITY effect). Panasonic, Canon etc, all have an OIS, IS, or EIS system.

1. OIS is an optical effect created by dropping frames when the camera sensor detects camera shake at the outer edges of the frame, and requiring a Blending of frames later, or an Interpret footage step in premiere. Other editors do this by default, and give their best guess, but premiere assumes you want to control that yourself. AME allows you to give a best guess by turning on frame blending in a transcode or decompression step.

2. IS is usually attached to the lens. The technology in basic IS is similar to that of the military standard sniper rifle. The lens “floats” so that it doesn’t move as fast as the camera shake, and is gently stabilized without affecting the frame rate, and keeping the output file intact. This is a professional method, but most pro cameras still allow you to turn on OIS as a secondary measure.

3. EIS has two flavors. This happens after the image is taken, where it is processed into compression. If a set of frames shows too much motion at the outer edges, frames will be dropped. Some cameras actually have a feature where the frames are dropped and replacements are blended with heavy blur to add the effect of defocusing the image during the motion, adding a feel of hype and “racing heart” emotion, but this also has limitations for the speeds it can work at.

My last bit of advice:
If you have a video where you know the base frame rate, and want to work in a certain mode, but know nothing else about the video, you can always Transcode it to something you want to work with. I usually make at least 3 files, and compare them; all prores 422 in lower end projects, going from full 422 to 422LT to 422Proxy. I use the proxy during my edits, but I check if the LT file is “Good Enough” and then decide if I want the full freight file for use in output or just the LT. IF motion is a little unnatural, I use the full file, but add a motion blur, adding a short effect render just before output so I can check it.
If I have a file that is in an interlace, but I need to go to full digital output (youtube\vimeo etc), which is all the time anymore, I simply Dupe the sequence, Cut everything out (storing it in a buffer), then change the fields in the dupe to progressive, paste everything back in, select the clips and replace with a progressive field version I make in AME with frame blending on. This results in (for me) noticeable quality in some of the shorter motion areas, while keeping image fidelity.

I edit and AME with a 2008 macbook pro with 2.16ghz cpu, 4gb ram, 2x 1tb hdd’s, 256mb vram and currently latest mavericks system (yosemite is latest osx, but I held off because much of the software will lose compatibility and I don’t want to fight that just yet). I compress with compressor batches, but I have it send to one or more machines when I rent out a studio of them for compression rendering. IF I use AE for an effect, I use the AE renders on big machines and farm it if possible, then have it render to video using AME on my macbook, storing the file in prores locally for movement to my working directory. It works pretty fast, assures I’ve got copies of everything, and I wipe it after burning archives to discs and producing final output. Editing with a slower processing unit forces better habits when it comes to workflow, plus, I can farm out what I need to any way I like, while keeping some previews of my recent work for showing off a little.
If you have another problem, shoot me a message or post here, copy the link to an email:
harleydavispersonal@gmail.com
harleydavisphoto@gmail.com
htdtechnology@gmail.com

PS
I’m an old pc\mac troubleshooter, and I’ve recently been doing video editing. I’m on the Adobe forums or these later at night (in the am portion of the night in my time zone; pacific).
I keep notes on problems like this to save time trying to troubleshoot. I pulled up a few of those with a search and gave you what I’d already found based on the description of the problem. Text is small and easy to store on an old flash drive, and easier still to keep a backup image stored in several places.