Then continue to do this for the rest of the clips.įrom there you can Group or Multigroup the clips with the common in point by choosing In Point from the sync options. I do this for the next clip as well, finding that same point and placing an In point. I then find that common point and place an In point. I bring up the clip in the source monitor and then use Toggle Source/Record to get the clip in a timeline. In any event, one way to group clips is to find a common sync point. So it will make your life easier if you can work out the issues that cause breaks in recording. In general we never stop recording unless there is a break and use a clap board at the beginning of each take.
Pluraleyes 4.1 work with media composer manual#
During the edit it is a manual process to sync clips. We're running Panasonic AF100 cameras that do not have accurate TC sync. We do some simple 3 camera multicam shoots on occasion.
Who here is super happy with the way MultiGroup "works" now? If so, how many track/cams of start/stop stuff? John, not every editor gets to offload the task to an assistant, or receives perfectly produced raw footage.
Nsitka, I agree, especially your #1 and #2. (I also realize this has been discussed ad-nauseum, but maybe the more we sound like a broken record, the more our message will be heard. To the goodly Avid people: is there anything in the works that will allow us a simple Multigroup option that accounts for all clips on all video tracks in a sequence, honours their place on the sync map and will then put them into one easy-to-use group clip? I have to think this is possible. With many cameras running at once becoming the new norm, an efficient solution to managing this ought to become the new norm. There has to be an easier way to do this. Also, the audio is recorded separately, so doing a match frame to video in the hopes of getting the audio with it is a pipe dream. Every single cut involves making edits on the pertinent video track, clicking and dragging it to the top empty video layer and removing the PIP. Which means that every single clip on every single video track has a PIP effect put on it, resized and repositioned so we can see what we're looking at. (We tried this with a different scene and ended up with 63 group clips.) Spend hours and hours making individual group clips.Ĭons: It takes hours and hours to do and, since a scene might take an entire day to shoot, you end up with dozens and dozens of clips. Even if the audio issue and the duplicate footage issues were resolved, the sheer inefficiency of it makes it a very undesirable route to take.Ģ. Problem is we have mixed formats, so some audio comes in at 48K, while other audio comes in at 8K, etc.
Often times when we get footage ingested at low-rez, it brings in the audio that way, too. On top of this, clips with different audio sample rates can't be added to the group. It took me over an hour to complete, required the creation of 638 subclips and the final MultiGroup was nearly an hour and a half in length. As an example, I just ran a test with a 51 minute sequence. Spend hours and hours building a MultiGroup.Ĭons: It takes hours and hours to do and is unreliable, with a lot of duplicate footage popping up. So when we get it all ingested and a sync map laid out, we have this massive checkerboard of a timeline with some video tracks having dozens of clips on them with breaks in between. Or we might have someone only shooting particular shots, so they're mainly inactive.
Pluraleyes 4.1 work with media composer series#
I work on a few series that shoot with several cameras (including lock-offs, we sometimes get up to 15.) During the course of a, say, 2 hour shooting block, the camera operators will constantly be stopping and starting their cameras-either to save recording space, battery or to change battery or tapes. Anybody here who's worked on a show with multiple cameras with multiple stop/starts knows where this is going.
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