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Multi-Camera Editing in FCP 4.5?
Posted by d2olphin
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Re: Multi-Camera Editing in FCP 4.5? December 11, 2007 09:01PM |
What he means is that there is no real multiclip in 4.5.
What you can do, however, is reduce the size of al your clips and stack them on the timeline with the same start time. So - put cam 1 clip on V1 starting at the clapper, or any moment that you can use to sync the various cameras up to. Select this clip by double clicking it, then go to the motion tab and reduce the scale to 50%. Then use the motion tools to move this clip to the left hand side of your screen.
Now drop camera two's clip on V2, reduce the size to 50% and move it to the right hand side of the screen. You should now be able to see both angles on screen at once.
Sync the two clips by slipping one or the other on the timeline until they play together correctly.
If you need more than two cameras, of course you need to make the clisp smaller and stack on higher video lines, making room on screen for all angles.
Now just make a blade cut where you want to change angles, then delete all the angles you don't want to be on scree at that time.
Then you can go through and make all the small clips back into real size by removing attributes.
Sounds a lot harder than it actually is.
What you can do, however, is reduce the size of al your clips and stack them on the timeline with the same start time. So - put cam 1 clip on V1 starting at the clapper, or any moment that you can use to sync the various cameras up to. Select this clip by double clicking it, then go to the motion tab and reduce the scale to 50%. Then use the motion tools to move this clip to the left hand side of your screen.
Now drop camera two's clip on V2, reduce the size to 50% and move it to the right hand side of the screen. You should now be able to see both angles on screen at once.
Sync the two clips by slipping one or the other on the timeline until they play together correctly.
If you need more than two cameras, of course you need to make the clisp smaller and stack on higher video lines, making room on screen for all angles.
Now just make a blade cut where you want to change angles, then delete all the angles you don't want to be on scree at that time.
Then you can go through and make all the small clips back into real size by removing attributes.
Sounds a lot harder than it actually is.
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Re: Multi-Camera Editing in FCP 4.5? December 11, 2007 09:43PM |
This is basically what Andy, Jude and Loren are talking about.
This is a music video I shot in October (see the almost-end-product here: [www.derekmok.com]
This is basically the "old-school" way of cutting what is essential a multi-camera shoot. Only in your case and mine, the multiple cameras weren't rolling simultaneously, but are synced to a constant source. I don't know how many angles you had, but I had approximately 50 takes in four locations, so even if the Multiclip feature were available, the sheer number of takes made that impractical, in my opinion. Also, I had designed the video so that you can't be in any location at any random point.
The middle image shows a "Master Sync" sequence where I laid out all the angles, synced to the song. Notice the markers that line up. I used sound spikes to indicate certain vital parts of the song that are easy to locate (for example, the first snare hit of the first chorus). Note in the Viewer how one of the clips had a marker with a song lyric on it. By marking the line "Hard to smile" in the song (actually, it was a snare hit on that line -- a snare hit is easier to locate and sync than a syllable of a human voice), and then marking that hit on all the angles, I can do the syncing faster. If I ever have a clip that lost its place in the timeline, by using this lyric, I can line up the markers again and rediscover the sync more quickly.
The top image shows what happened when I started razoring all those angles, choosing the best bits, and laying them out. But notice, each angle is still in its own video track, and some bits that aren't chosen are greyed out, but not deleted. Because when you have a multi-camera setup, it's useful to have pieces you don't want in the timeline, just in case you're missing a chunk down the line. That greyed-out chunk may not be what I want here, but I can pull it out and maybe it will fit in another place where there's a hole that needs to be filled. This is the "Clip Enable/Disable" method Andy was talking about.
The bottom image shows a later timeline when I had most of the song where I wanted it. I cleaned up the first 2/3 of the song where I was happy with the shot selection. The later parts were still not done, so I left some clips on separate tracks.
Though it's time-consuming, there's one great thing about this method that can't be done in the Multiclip function. When you have three, four or more angles like this, and then go through each angle individually to find the best bits, you can then line up all those pieces and watch -- it's like the footage cuts itself, and watching this "unintentional editing" can inspire ideas.
www.derekmok.com
This is a music video I shot in October (see the almost-end-product here: [www.derekmok.com]
This is basically the "old-school" way of cutting what is essential a multi-camera shoot. Only in your case and mine, the multiple cameras weren't rolling simultaneously, but are synced to a constant source. I don't know how many angles you had, but I had approximately 50 takes in four locations, so even if the Multiclip feature were available, the sheer number of takes made that impractical, in my opinion. Also, I had designed the video so that you can't be in any location at any random point.
The middle image shows a "Master Sync" sequence where I laid out all the angles, synced to the song. Notice the markers that line up. I used sound spikes to indicate certain vital parts of the song that are easy to locate (for example, the first snare hit of the first chorus). Note in the Viewer how one of the clips had a marker with a song lyric on it. By marking the line "Hard to smile" in the song (actually, it was a snare hit on that line -- a snare hit is easier to locate and sync than a syllable of a human voice), and then marking that hit on all the angles, I can do the syncing faster. If I ever have a clip that lost its place in the timeline, by using this lyric, I can line up the markers again and rediscover the sync more quickly.
The top image shows what happened when I started razoring all those angles, choosing the best bits, and laying them out. But notice, each angle is still in its own video track, and some bits that aren't chosen are greyed out, but not deleted. Because when you have a multi-camera setup, it's useful to have pieces you don't want in the timeline, just in case you're missing a chunk down the line. That greyed-out chunk may not be what I want here, but I can pull it out and maybe it will fit in another place where there's a hole that needs to be filled. This is the "Clip Enable/Disable" method Andy was talking about.
The bottom image shows a later timeline when I had most of the song where I wanted it. I cleaned up the first 2/3 of the song where I was happy with the shot selection. The later parts were still not done, so I left some clips on separate tracks.
Though it's time-consuming, there's one great thing about this method that can't be done in the Multiclip function. When you have three, four or more angles like this, and then go through each angle individually to find the best bits, you can then line up all those pieces and watch -- it's like the footage cuts itself, and watching this "unintentional editing" can inspire ideas.
www.derekmok.com
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Re: Multi-Camera Editing in FCP 4.5? December 15, 2007 10:10PM |
Okay, let me get past this busy stretch first. I might just redo the setting up of that project and recording screen grabs along the way.
www.derekmok.com
www.derekmok.com
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