[Trevor Asquerthian]

You *probably* want your multicam sequence to be multichannel, such that A1 routes to A1 etc. Test, test test though.

Whenever I tried to emulate avid style multicam audio workflows it fell apart when flattening the resultant edit, so have tended to edit with raw audio & multicam Video. As these have mostly been sit down interview style it’s pretty easy.

Have not done a typical entertainment style multicam with multiple audio isos. Not sure it’s possible. Be glad to hear news to the contrary.

[Trevor Asquerthian]

Creation time of clips will get you close. Even if clock wasn’t correct it will be consistently different.

Videotoolshed have tools to get creation time to timecode – https://www.videotoolshed.com/handcrafted-timecode-tools/qtchange/

[Trevor Asquerthian]

Depends if you need to edit with any other frame rates and/or deliver to a particular spec (ie UK broadcasters require 1080/50i generally)

Also you may get more pronounced flickering from 50Hz light sources at non ‘PAL’ frame rates. https://www.red.com/learn/red-101/flicker-free-video-tutorial

[Trevor Asquerthian]

Multicam them by inpoint?
Open multicam in timeline & copy/paste to your timeline

[Trevor Asquerthian]

You might want to look at that Avid thing too. Apparently a few people have managed to edit shared assets on it recently.

[Trevor Asquerthian]

I’ve been using Resolve for a couple of years for grading – mostly round-tripping from PP.

Editing still feels a little way off – needs a critical mass of competent editors using it, feeding back & being listened to to get it over the line I think.

Same goes for Fusion/VFX and Fairlight/Mixers. But the price point is very attractive to owner/operators and production companies.

And lots of the DS folk seem to be using it already.

[Trevor Asquerthian]

Thanks I’ll try that

[Trevor Asquerthian]

Glad to hear mimiq alive & well – it’s nothing like Interplay though, it just replicates bin-locking for shared bins.

[Trevor Asquerthian]

I think it allows you to do a bunch of stuff – remotely. Logging/sorting/editing etc depending on options you buy.

It probably requires NEXIS at least, maybe ask at community.avid.com/forums or ask avid on Twitter?

https://www.avidblogs.com/mediacentral-editorial-management/?utm_campaign=organicsocial&utm_medium=social&utm_source=twitter&utm_content=1522762949

Look at MIMIQ for non-Nexis NAS workflow? Although that might be broken with new bin/project sharing arrangement requiring ‘Ultimate’

[Trevor Asquerthian]

You could select your sequence and ‘save as Premiere Pro Project’ instead? That way you’ll have your backup but won’t clutter your project or be making alterations to backup sequences. Also has the advantage that the bin ‘usage’ column for clips does not balloon to include redundant back up sequences.

Alternatively you could open the backup sequence each time you duplicate and lock all tracks.