[Robin S. kurz]

[Oliver Peters] “The reason Premiere Pro made the cut for “Gone Girl” was largely because of its tight After Effects integration, which was used extensively on “GG”.”

Which I find to be a rather odd reason actually, since I know of extremely few people (including myself) that actually even use “Dynamic Link” all the way to PPro after maybe the first or second try. IOW AE and CINEWARE, sure. But no one in their right mind (or anyone wants to stay it) actually leaves it all “live” in Premiere for speed reasons alone. And if you’re rendering out, it’s really rather irrelevant which NLE you’re using after that.

[Oliver Peters] “the new “render and replace” feature”

THAT on the other hand I hadn’t yet heard of, which of course sounds pretty cool if it works as advertised.

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[Robin S. kurz]

[Mark Morache] “This should give you a single clip with the separate video clips alligned to the continuous audio track.”

How is that different to what you would get with a multicam clip?

[Mark Morache] “and add a color correction layer that extends over the entire clip.”

Question is if the same correction is needed for every clip i.e. can be used for all of them.

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[Robin S. kurz]

Yepp. And if you fill in the camera name/angle metadata fields accordingly (whether it was a one or two camera shoot), FCP will even create single track camera angles with the appropriate gaps from your start/stops. And again, you can cc them as needed. So I’d say the multicam route would be the better one. Aside from also being able to easily change the angles (assuming there are overlapping angles) with the number keys in the project directly, WITHOUT having to dive into the clips timeline.

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[Robin S. kurz]

[Charlie Austin] “Just like, “Yes.This feature was cut in X. We were pleased to be a part of the film, and here’s some information about it. You can hear more about it from the people involved, who had a good experience. It works, and will continue to improve. Also… here’s a few more things happening.””

I believe that’s called the “In-Action” page. 😉

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[Robin S. kurz]

Well, if it’s the same shot/camera probably not, no. But that doesn’t in fact look like the same shot/camera, so yes, probably maybe.

Or you can simply use as is and simply correct one shot and paste the correction to the other instances. But I might even make three separate clips from them, too, and edit them and paste the attributes as needed. Who knows. There are many roads leading to Rome. It’s up to you to figure out what works best. You’re the one in front of it.

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[Robin S. kurz]

You know that’s called a “Multicam”, no? 😀

Something where you can do a color correction on a clip by clip basis in the master btw.

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[Robin S. kurz]

[Brett Sherman] “It seems more true of editors though. Especially “senior” editors. “

Hear hear. The ones that needed years and years way back when to wrap their head around matters and are now scared out of their minds that their “elite status” will disappear too quickly, along with the endless admiration for for being the only ones that get what all those knobs, buttons and random pop-ups do. That’s why this fancy-shmancy, new and easy-to-use stuff CAN NOT be tolerated! … ¼” TAPE is where it’s at! 😉

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[Robin S. kurz]

Question is: why would you even have multiple clips in a synced clip to begin with??

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[Robin S. kurz]

[Andre van Berlo] “dont know if you could use synced clips like this”

Sure. Why not. But that is also references the much older version of FCP, so only applicable to a degree. And it’s hard to say if that still makes as much sense as it used to, seeing that compounds are different overall now in comparison. Something one would simply have to try and find out.

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[Robin S. kurz]

[Andre van Berlo] “when I sync my videos and turn the synced clip into a compoundclip”

Why would you want/need to do that? The synced clip already is a compound clip (sans the icon) that you can open with the “Open in Timeline” command. What am I missing?

But I’d say that both workflows pretty much work out to the exact same thing, only the types of clips are different. But I also suspect, if I’m understanding it correctly, that the multicam workflow would involve far fewer steps.

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