Double click on this sequence to open it and begin editing. Enable Multi-Camera Editing in the Program Monitor. To begin editing, first enable multi-cam editing mode by clicking on the “+” icon from the Program Monitor and dragging the “Toggle Multi-Camera View” icon into your toolbar. Click on it to activate. On your computer, open Adobe Premiere Pro CC. Create a new sequence with a 1 x 1 aspect ratio. Drag and drop your sequence into the new sequence. If you see a clip mismatch warning, click Keep. Adobe Premiere Rush is a free video editing software. The tools in this version are enough for you to create artwork, or customize them according to individual styles. However, if you want your final work to be more unique, edit faster and have more effects, don’t miss the Premium version we offer.
Editing audio in the timeline; Audio channel mapping in Premiere Pro; Use Adobe Stock audio in Premiere Pro; Advanced editing. Multi-camera editing workflow; Editing workflows for feature films; Set up and use Head Mounted Display for immersive video in Premiere Pro; Editing VR; Best Practices. Best Practices: Mix audio faster; Best Practices.
Are you working on a film or an interview spot that has multiple camera angles for the same scene? Premiere Pro’s multi-camera editing feature lets you sync multiple camera angles in one sequence, then seamlessly switch between those angles by pressing the number keys on your keyboard. It’s easy and time saving — two things I love!
So, let’s get to it. If you want to follow along by using the video clips I filmed and used in this tutorial, you can grab them on my website here.I filmed all three video clips in 1080p HD at 30 frames per second (fps) on three different cameras: the Canon EOS M3, Canon XF100, and iPhone 6. (See if you can tell which camera is which!) I edit with a Mac OS system and use the latest version of Premiere Pro CC 2017 (11.0.2 Build).
Step 1: Create a Multi-Camera Source Sequence
In your Project Panel, create a bin (Premiere Pro’s name for a folder) called “Multi-Cam” and place all of your camera-angle video clips in that bin. I have three camera angles and I’ve labeled each accordingly:
- Cam 1 (this one contains the high-quality audio track)
- Cam 2
- Cam 3
Audio Tip: For multi-camera editing, I recommend that you record all of your angles with audio, and that one camera angle contain the high-quality audio track. The other angles can have poor quality, such as on-camera sound, but you need at least one camera angle with high-quality audio to successfully edit a multi-camera source sequence.
Next, right-click on the bin (ctrl+click for Mac OS) and choose “Create Multi-Camera Source Sequence” from the context menu. This will open up the Multi-Camera Source Sequence dialogue box.
This is where you choose how you want to combine the multi-cam video clips. You can combine clips by in/out points, overlapping timecodes, or audio waveforms. In this tutorial, I’m going to combine the clips using Premiere Pro’s advanced audio-sync waveform feature. After you select “Audio,” you need to choose the Audio Sequence Settings. You have three options:
Camera 1: This setting will sync all video clips with the audio track from camera 1 only — the audio tracks from the other camera angles are muted. This means that the audio from camera 1 will be dominant and constant throughout your multi-camera source sequence.
All Cameras: This setting will mix all the audio tracks from the video clips together.
Switch Audio: This setting is great if you want each camera angle to use its own source audio. For example, once you start editing (see Step 4), when you select Camera Angle 2, the audio from Camera Angle 2 will be heard, and if you switch back to Camera Angle 3, the audio from Camera Angle 3 will be heard, and so on.
In this case, I don’t want to select the “Switch Audio” option, as only Camera Angle 1 contains the high-quality audio track I want in my final video. And since I don’t want the audio tracks from other angles to be heard, I definitely don’t want to select “All Cameras.” I’m selecting the “Camera 1” option, so that all camera angles will sync with the audio from Camera Angle 1.
Step 2: Create a Multi-Camera Target Sequence
The target sequence enables you to edit and switch between multiple camera angles. To create a target sequence from your multi-camera source sequence, right-click on the new multi-camera source sequence from your Project Panel and choose “New Sequence From Clip” from the context menu. Double click on this sequence to open it and begin editing.
3. Enable Multi-Camera Editing in the Program Monitor
To begin editing, first enable multi-cam editing mode by clicking on the “+” icon from the Program Monitor and dragging the “Toggle Multi-Camera View” icon into your toolbar. Click on it to activate.
Quick Tip: You can also enable the multi-camera editing mode using the keyboard shortcut Shift+0.
Once you’re in multi-camera editing mode, you’ll see two windows within the Program Monitor. In the left window, you’ll find all the camera angles that exist within the multi-camera source sequence (in this case, you should see three camera angles). You can also re-order the camera angles to change the sequence order or disable them by selecting “Edit Cameras” from the Source Monitor’s pop-up menu. In the right window, you’ll see the composite target sequence (what you’ll see in the final video product).
If you scrub through the sequence now, you’ll only see Camera Angle 1, because we haven’t told the sequence to switch to another angle yet.
Step 4: Editing and Switching Camera Angles
To begin, play the sequence by hitting the spacebar, then, according to your desired time code, click on the camera angle you want viewed in real time.
Editing Tip: Use your keyboard’s number keys to switch between angles: 1 for Camera Angle 1, 2 for Camera Angle 2, 3 for Camera Angle 3, and son on.
Switch back and forth between the angles until you achieve your desired sequence. Once you’re finished, hit the spacebar to stop. When you zoom in to the sequence, you’ll see that Premiere Pro has automatically cut and replaced the new angle for each timecode you selected. Multi-camera magic!
5. Adjusting and Refining Your Multi-Camera Target Sequence
To adjust and refine cuts, use the Rolling Edit tool. Select the tool from the toolbar (or press “N” to activate the rolling edit), then grab the cut and roll it to the desired timecode in the sequence.
Or, let’s say you want to change from Camera Angle 2 to Camera Angle 3. You can do this by clicking on the clip in the sequence and pressing the number of the angle you want to change it to. It’s really that easy!
Finally, go in and add any effects, such as color correction, music, or transitions to the sequence, as you would with any standard sequence in Premiere Pro.
If you have any questions about this process, or multi-camera editing in general, please leave a comment below or drop me a line on my website!
Top image: Still from Behind The Scenes on TV Production Set by hotelfoxtrot
You’ve got your storyboard up on your wall, your cinema camera ready to roll, and an all-star editing team working in Adobe Premiere Pro. Now it’s lights, camera, action!
Or is it?
You can shoot beautiful, high-resolution, 4k footage for days, but what good is that perfect aerial shot if your team can’t find it when they need it?
Storing your media is just as important as shooting and editing it. And the way you store your media can have a huge impact on how your team works together, how long your projects take, and how much time you spend on creative vs. non-creative tasks.
Premiere Pro
Video editing that’s always a cut above.
From passing hard drives around the studio to spending hours manually backing up your files, so much creative time is wasted on an inefficient workflow. Because of this, it’s not unusual to see media storage as an annoyance in an otherwise fluid production process.
But media servers are more than just storage space for your video files. The right solution can take your workflow to new heights by building a more collaborative environment, keeping your media organized, automating manual tasks, and giving your team the freedom to work remotely.
Creative collaboration
When all of your team members have access to shared storage (also known as shared local storage or networked storage), true creative collaboration is within reach.
With a network-attached shared storage server like EVO, multiple users can access and collaborate on footage simultaneously from a secure, centralized location. That means your entire team — editors, VFX artists, audio, motion graphics, etc. — can work together on a video editing project without overwriting each other’s work, needlessly duplicating media, or misplacing hard drives containing precious, once-in-a-lifetime footage.
For those already using Productions for Premiere Pro, you are likely familiar with the collaborative capabilities of project locking. This allows team members to open footage in read-only mode so they don’t accidentally overwrite ongoing work.
If you aren’t using Productions, you can still protect your projects with EVO. EVO has built-in project-locking features for any file type — including Premiere Pro, After Effects, Photoshop, Illustrator, and other creative apps in the Adobe Creative Cloud suite — to keep your team collaborating and creating.
Adobe Premiere Pro Editing App
No matter how many editing bays you have in your office or the number of remote editors collaborating on your content around the world, a shared storage workflow server can bring the entire team together and help you reach your collective goals faster.
Organization on point
Looking for b-roll from last year’s shoot in the Florida Keys? Or that thunderstorm time-lapse you’ve been saving for a rainy day? Organizing your media with tags, comments, and custom metadata can make finding your footage a breeze.
Media asset management (MAM) software lets you tag, filter, search, and comment on media in real time. These tools are perfect for finding b-roll, the best takes of a scene, or music to fit the mood. With custom metadata, you can even track information like director of photography, client name, or other details that are important to your production.
Did we mention that you can have artificial intelligence (AI) tag your footage for you? That’s right. If you want to find all ocean-related footage but haven’t gone through and tagged your material, our AI feature will automatically categorize your footage so that it’s instantly searchable by your post-production team.
And if your MAM comes with a free panel extension in Adobe Premiere Pro and After Effects like ShareBrowser (included free with every EVO shared storage server), your team can do all this from within the NLE itself. No need to navigate away from your creative happy place to find the media you need for your project.
Check out our tutorial video at Adobe MAX to learn more about ShareBrowser and the entire EVO suite of workflow tools.
Automating repetitive tasks
MAM software can help your editing team find what they need faster, but finding media isn’t the only bottleneck in a post-production workflow. Transcoding media, creating backups, and moving files can take valuable time out of a team member’s day, especially if they’re using their workstation to do it.
With the right workflow server, all of this can be automated.
EVO’s built-in automations engine, Slingshot, lets you schedule file automations at regular intervals. Backup your files daily, weekly, or monthly. Move all new files from the last week to cloud storage. Delete scratch renders after 30 days of inactivity.
Why waste your time on these monotonous, repetitive tasks when your workflow server can do them for you overnight? Automate the repetitive elements of your workflow so you can focus your time on more creative endeavors.
Freedom to work from anywhere
Remote editing is no longer reserved for freelancers and early adopters. Using a virtual private network (VPN) or remote desktop software, you can access your media from home, edit offline, and remotely render your final projects for a seamless work-from-anywhere workflow.
Downloading high-resolution files can take a lot of time and space on your local workstation. Since proxies are much smaller than your full-resolution original files, proxy workflows are the best option for remote editing. Luckily, Adobe Premiere Pro proxy editing is a fast and simple workflow that gets even better when paired with EVO’s remote editing tools.
EVO automatically generates proxy files for you upon media ingest. Hercules disney nederlands. Using Nomad, EVO’s remote editing utility, you can parse a Premiere Pro project file and quickly download the proxies or source media to your remote workstation. After editing offline, simply connect back to your shared storage system via VPN to render remotely from the comfort of your home. Your local proxies follow the same folder structure as your high-res originals, helping you avoid broken links when bringing your media back online.
We get it. The quiet mumble of a storage server isn’t quite as invigorating as the sound of a clapperboard or the director announcing “that’s a wrap” at the end of a shoot. Ea sports cricket 2011 pc game patch free download. But the media production storage solution you choose has a huge impact behind the scenes.
It’s time to stop struggling with the inefficiencies of a lackluster storage device. Experience a better workflow with EVO, the high-performance shared storage server solution purpose-built for creative media production.
Video Editing Adobe Premiere
Learn more about EVO shared storage workflow solutions at Adobe MAX or at studionetworksolutions.com.
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