• Specifying Sequence Settings Presets And Preferences In Final Cut 2016
• Specifying Sequence Settings Presets And Preferences In Final Cuts

You can create a multicam source sequence in the following ways:. Select a bin containing assets and choose a sync method from the Create Multi-camera Source Sequence dialogbox.

All clips in the bin are processed based on the sync method and ordered alpha-numerically in each resulting source sequence. Select assets manually and choose a sync method from the Create Multi-camera Source Sequence dialog box. The order in which you selected the clips determines the order in the resulting source sequence. To use the Create Multi-camera Source Sequence dialog box, select your clips or bin from the Project panel. Then, right-click (Windows) or Ctrl-click (Mac OS) the selected clips and choose Create Multi-camera Source Sequence from the context menu.

For more information on specifying the settings in the Multi-camera Source Sequence dialog box, see. Before creating a multi-camera source sequence, it is important to mark clips for synchronization. Open each clip and then do one of the following at the sync point:. Mark an In Point at a sync point at the beginning of a clip.

For example, mark an In point where the (slate) is clapped at the head of a clip. Mark an Out point at a sync-point at the end of a clip. For example, mark an Out point where the clapperboard is clapped at the tail of a clip. Make a clip marker at a sync point at any point during a clip. For example, if there is action at any point during a clip that can be used as a sync-point, like an audio cue, cymbal crash, or a camera flash. Rename each marker so that they are identically named for synchronization.

Type the same clip marker name for each clip in the Marker dialog box, and then click OK. (See.) Timecode can also be used to synchronize clips, and it does so automatically. However, timecode must be identical on all clips for them to synchronize properly. If the timecode is identical on all the clips you plan to synchronize, you do not need to mark clips for synchronization. If you use the hours value in source timecode as a camera designator, select the Ignore Hours option. Premiere Pro then uses only minutes, seconds, and frames to synchronize clips.

To stamp identical timecode on all clips, record the cameras with timecode on location, or modify the timecode for each clip in Premiere Pro. Timecode Select the Timecode option to synchronize the clips if they were recorded with timecode in sync with each other. Select the Create Single Multicam Source Sequence option to combine the clips into a single multi-camera sequence. Use this option when the coverage from the individual shots has gaps, and you want to create a sequence that preserves the gaps. If you do not choose this option, only overlapping clips are combined and clips with no overlaps are left unused.

You can assign a group of clips a Camera Angle or Camera Label that can be referenced during multicam creation. Groups of clips with matching Camera Label or Camera Angle metadata fields are placed on their own track during the metadata creation process. This same concept applies to external audio or field audio. Select Ignore Hours if each clip has timecode that starts at a different hour but otherwise overlaps in timecode. Premiere Pro lets you perform quick multi-camera edits based on sync timecode. Press the modifier key Ctrl (Windows) or Cmd (Mac OS) while switching source clips to match frame to the timecode at the current playhead position.

Select the Sequence Preset pop-up menu to select from a list of all previously saved sequence presets. The sequence preset Automatic is selected by default. When you select the Automatic preset, the video preset is based on the video format of the Camera one clip. In most scenarios, the Automatic preset is the appropriate setting. For advanced workflows, like editing a sequence using proxy resolution clips, you can choose a specific sequence preset.

You can then use higher-resolution/frame-size clips for the final edit. If a separately recorded audio track is out of sync with the video clip, you can add a frame offset using the Offset Audio by option. You can enter video frames in the range -100 to +100 for sync offset for the audio-only clip. Use the Move Source Clips to Processed Clips bin option to move the generated source clips to a Processed Clips bin. If a Processed Clips bin does not exist, Premiere Pro creates one before moving the clips into it. Clips that did not meet the synchronization criteria are left outside the Processed Clips bin. This option makes it easy to identify clips that were not used in the resulting multicam source sequence.

Sequence Settings determines how the audio tracks in the source sequence are populated, how the panning and channel assignments are set, and whether they are muted. Select Camera 1 when only the audio from Camera 1 is used in the editing sequence.

Specifying Sequence Settings Presets And Preferences In Final Cut 2016

Multicam editing is enabled for only the video portion of the source sequence. If you use A/V clips to create this sequence, the audio tracks for all audio associated with video 1 are unmuted. Other audio in the source sequence is muted. If you use audio-only clips with video or A/V clips, the audio-only clips are placed in the topmost tracks, and are unmuted. Other audio (from any linked clips) is muted and placed in lower tracks.

The channel assignments and panning of each track are set to transfer each source channel to independent output channels (up to 32). The number of unmuted channels of source audio determines the number of active output channels of the sequence. Note: You cannot use the audio follows video option in editing sequences created with this setting, because the audio portion is not multicam-enabled. Select All Cameras to use all audio channels in the source clips. This setting is similar to the Camera 1 setting. Only the video portion of the source sequence is multicam-enabled. Audio-follows-video is not supported for this setting.

Specifying Sequence Settings Presets And Preferences In Final Cuts

All audio is unmuted (up to 32 channels). The number of unmuted channels of source audio determines the number of active output channels of the sequence. Select Switch Audio when you want the audio to switch with its linked video. This setting unmutes all audio.

It enables multicam editing on both the video and audio of the source sequence, when the audio follows video setting is enabled in the Program Monitor. This setting also maps multi-mono source audio into a single adaptive audio track. In addition, the audio-follows-video editing setting switches this single track with the video.

If audio-only clips are included in the selection of clips, the audio-only clips are placed in tracks below any linked clips. Empty video tracks are created to match up with every audio-only track. The Audio Channels preset determines how the resulting source sequence is mapped. Details includethe type and number of audio tracks that are dropped when the source sequence is nested into the editing sequence. Note: For the resulting source sequence to map correctly with the audio channels, the number of tracks in the source clips must not be greater than the channels associated with the preset you choose.

Automatic: Reads the audio type of the first clip and uses this mapping. Mono: Maps to as many mono channels as there are output channels in the source sequence. Stereo: Maps to stereo tracks based on the number of output channels in the source sequence. 5.1: Maps to 5.1 tracks based on the number of output channels in the source sequence. Adaptive: Maps to Adaptive based on the number of output channels in the source sequence. Premiere Pro lets you organize and select the angles to view in the Source Monitor's multi-camera mode. From the Source monitor's pop-up menu, select Edit Cameras.

In the Edit Cameras dialog box, all the clips are listed in the original order that they were arranged in the sequence tracks. You can drag-and-drop the clips to change the sequence order. You can also enable or disable the clips by selecting or deselecting them. You can organize and select cameras in multicam view across multiple pages. You can set the number of camera sources per page and navigate between pages as needed.

You cannot drag-and-drop cameras to different pages or within a single page. However, you can use the Edit Cameras dialog box to change the order of cameras in a multicam sequence and the pages reorders accordingly.

Use the Preferences dialog to enter your registration details and change user preferences. There are a large number of settings, arranged in different pages or tabs for convenience. You can use the Next and Previous buttons to cycle through them, or Highlight to show which settings have been modified and optionally restore them back to their recommended default values. General tab Whether to interpret timecode (when no frame rate is specified by the context) as PAL or NTSC; the format for displaying dates and times; whether to hide less commonly used menu commands or show a simplified toolbar in the main window; how to name subclips created by automatic scene detection or the New Subclip command; whether to force the user interface language to English when using a localised version of CatDV. Proxies & Thumbnails tab What size and quality settings to use when creating proxy movies (use one of the, or customise your own in the Professional Edition); whether to use tape- or path-based proxies; whether to display a proxy instead if the original movie is unavailable; whether to generate thumbnails for imported media; what size thumbnails to create; whether to use the midpoint or start of clip as initial default poster; whether to create thumbnails on the first/last frame or inset by 5% (for shots that fade in from black). Media Search Paths tab The directory for creating tape-based proxies and additional proxy directories to search when locating proxy movies for a tape (you can include the directory where self-contained archives are stored to search those also).

Specify for path-based proxies and to automatically locate media files (define mappings from the path as stored in the catalog to where the files are physically located on the local machine). User Columns tab Specify names and types for or create additional columns. The FCP Preset button automatically sets user column names to match Final Cut Pro. Use the Built-in Fields button to customise the names of pre-defined attributes. You can also define Marker Categories from this tab.

(Professional Edition only) Pick Lists tab View or edit the values that appear in drop down lists when editing grouping columns. If an attribute is extensible you can type in new values, otherwise you are restricted to values in the list. Metadata Columns tab Choose whether such as copyright and author information (extracted from the original media file from QuickTime user data, Exif and ID3 tags, or WMV/ASF attributes) are displayed as normal columns. Control how individual fields are used, or press Cmd-Delete to delete a field altogether. Customise Views & Customise Details Panel tabs Create or modify.

In the Professional Edition you can customise fields shown in the clip details panel also. User Interface tab Whether to open last catalog when launching CatDV; explicitly specify the default view and grouping when a window is first opened or whether these should automatically be the same as the previous window; define whether the media or details dialog is shown when double clicking on a clip; whether to use the advanced query dialog for searches within a catalog (Professional Edition). Advanced User Interface tab Select the look and feel of the application; whether imports (and similar operations) can take place as a background activity; whether renaming a clip or changing its bin also renames or moves the media file; whether to keep the details dialog on top of the main window at all times; preferred units for displaying data rate; which import and export menu command should have a keyboard shortcut; automatic save interval; whether clicking on a directory in the tree navigator automatically analyses the files.

Import tab Which importers to try when importing a media file; whether to recursively scan subdirectories when importing a directory; whether to combine clips with the same tape name, in and out values into a single clip reference; whether to perform scene detection based on changes in time stamp or image contents (check both for automatic operation); whether to import clips based strictly on the DV timecode information embedded in the media (ie. Whether to favour the DV or QuickTime timecode if they differ); whether to automatically combine start and end segments of a DV clip that spans more than one capture file, whether to create Image Sequences and if so what frame rate to use. Media Playback tab Which to use; whether to start playing a movie automatically; whether to automatically double the size of small movies or images; how fast should slide shows be shown; whether to use jog or shuttle keyboard controls (Professional Edition only). Advanced Media Handling tab More advanced options that control how media files are opened and imported, including: whether to resolve QuickTime data references (necessary for some reference movies such as RED, but can result in a long delay when encountering broken reference movies); whether to play WMV files using QuickTime/Flip4Mac or an external application; whether to completely disregard timecode embedded in DV movies; how to decide the timecode format for imported formats; whether to replace the audio track when playing back XDCAM proxies. Printing tab What fonts and margins to use when printing (top, bottom, left and right); how much extra spacing to leave around cells; any custom title to be used.

Export tab What line ending character to use when exporting batch logs; whether to use the whole clip or a selection within the clip when exporting clips; whether to prefix the name of exported movie files with the tape or bin name (or create subdirectories based on these names); what duration to apply to still images when exported as a movie or added to a sequence; the custom footer to include on each page when exporting HTML. File System tab Whether to create a backup copy when saving catalogs; whether to allow deleting or renaming media files from within CatDV; options to speed up performance on slow file systems (avoid pre-loading movies when selecting a clip until you click on the Movie tab, don’t check whether files are online when opening a catalog) Final Cut & Sequences tab Options that relate to how sequences are imported from Final Cut 7 XML files (and from OMFI files). Options that relate to how clips are sent to, for example whether to use the CatDV bin name or create a bin based on the current date and time.

Advanced Functionality tab Miscellaneous options such as whether debug messages are written to the log file, whether the spell checker is enabled, and options affecting printing. Server tab Options relating to use with the CatDV Server, including whether to enable commands that publish data to the server; whether to automatically refresh clips from the server; whether to dynamically add to picklist values from clips stored on the server. Registration tab Enter the name and registration code you were sent to register CatDV, or clear an existing registration. It is easiest to copy both lines from your registration email and press the Paste button. You can also enter a bolt-on license for the here.