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Adobe Premiere Pro CC Video Editing: The Complete Guide

Lesson 49 of 65

Multi-Camera Editing: Overview


Adobe Premiere Pro CC Video Editing: The Complete Guide

Lesson 49 of 65

Multi-Camera Editing: Overview


Lesson Info

Multi-Camera Editing: Overview

Well we're gonna be talking about multi-cam or shooting multiple cameras, and then editing them more efficiently. Basically switching live as if you're in a studio, and it's a very efficient way of working with all of this media. Instead of having to do what we did in earlier lessons, where I was like trying to match my questions to his answer, to the cutaway. That's a traditional way of doing it, if you shoot maybe one camera, or old school if you don't know the multi-camera technique. But we're gonna learn that, and that's gonna save you an amazing amount of time, and really open up a lot of opportunities for you when you're taking footage that you shot, and need to put it together. So, that's a little bit about what multi-camera editing is. We're gonna go deeper. Definitely an interactive class. This is the one that I know a lot of people have a lot of questions about, so please pipe in. Because the questions again you ask, will really benefit the folks that are watching this lesson...

. Shooting tips, that's the big thing. It all goes back to shoot it right, it'll make your life easier afterwards, instead of doing the face palm going if only. We're gonna actually hop into the software at that point. I'm gonna show you how to create what's called a multi-camera sequence, which is aligning all of the different angles that you would have shot from your multiple cameras. And then we're gonna actually execute that by switching, as if we're in studio. And then some of the finalizing, and even show you that once you switch it, you can now levarage all the editorial and trimming techniques that we've already learned to refine that multi-cam edit. So it's a really fun session. It's one of those things that people are a little bit scared of, so they don't shoot multi-cam. But then once you do it once or twice, you go, "Wow, I have the tools. "This will make my life real easy." So with that, I really want to start this as a conversation before we get into the software, to kind of talk about some of the pre-pro. But let me throw it open to you all about if you have questions or concerns, or just how it works, and we can talk about the production side before we actually look at some of the footage. So are there questions? Excellent. Hello, I'm wondering if you shoot with different cameras, let's say an iPhone and an SLR, if you run into any issues? For example, if you have different depths of fields, and what are the things that you should be thinking about when you set up those cameras? That is a perfect opening question. So, yes, I often shoot with different cameras. Sometimes it's a necessity. Sometimes I do it as a luxury, and I find out that it benefits me. So getting down to the main thing. Let's say you're doing an iPhone. Maybe you have a DSLR. Maybe you have an older DSLR. Can you use all these different cameras? Absolutely. What are the issues involved? Well the first thing is, you should ideally shoot all the video at the same frame size if you can. So, if they could all shoot 1920X1080, try to do that, because that way you don't have to scale anything up. You can scale down if you have a camera that shoots 4K, you can always transcode it down to 1920. As a matter of fact, when we look at this footage, one of the cameras I did shoot at 4K, at four times the resolution, and I ended up using it as if it was two cameras, two angles. I used it as a wide shot in a close up, and it's very easy to do in Premiere. So that's one thing to keep in mind, is the frame size. If one of your cameras can only shoot 720p, that's the 1280X720 size, you need to make a decision. Do you want to scale that up to match everything else? Or do you want to scale everything else down? I would still shoot everything at the highest quality that camera can shoot. Each camera can shoot. But then I need to decide, is my sequence going to be 720, or maybe do I wanna compromise a little bit, and probably I would still stick with 1920, and use the skills we learned about set to frame size, and scale it up. So that's the first thing, and of course aspect ratio, let's stick with 16X9 if we can. Because an SDM will not help you. So that's the first thing. The second thing is frame rate, and we've talked about frame rate. And frame rate, it's confusing because I make some suggestions. I made some suggestions, and people were like, "Well, does that mean 24 is better? "Does that mean 30 is better?" the bottom line is, (mumbles), Premiere will try to fix it no matter what. So don't bang your head on your keyboard. If you go, "Oh my gosh, I did this at 24, this is 30. "my life is ruined." It'll figure it out. But if you can control it, try to get the frame rates to match on all your capture devices. So for instance, if you know that one of them could only capture 30 frames per second, and the other ones at 24 or 30, do them both at 30. Because that way, you don't have to force the program to do any more analysis, and everything will merge together smoother. So that's one of the key things. As for look and depth of field, even when you're shooting with multiple cameras. If they were all exactly the same. If your focal length is different, your depth of field is gonna change. And that's not as critical, because we're used to when we switch cameras, that the background is gonna be a little different. So for instance, if I was being shot as a multi-camera, imagine this is a multi-camera set. Wait, it is. But, if we have a camera positioned over here. My background is this board, it's dark. But if we have that arching camera over here, my background is light. Well, and your brain says, "Well That's not "gonna match, but it does match." Because we've set the stage of the set, and people are used to the fact that backgrounds change. As long as my shirt like doesn't change color, it's gonna work. And as a matter of act, you can google or search the web. It's interesting how we used that term Google, like just that search now. For videos where they intentionally change things between cuts, and people don't notice. There's a great one where two newscasters, and literally you watch the video. And then at the end, they show you the behind the scenes. And they're like changing shirts, and the table and the backdrop, but it seems so smooth our brains fill in 90 percent of what's there, and we focus on the story. So it's not as big of an issue. Where you might see a little bit of differentiation with the diversity of cameras, is the quality of the image. And the color balance of the image. So, if one of your cameras just shoots a lot softer, if it doesn't necessarily have the quality, you might notice when you cut to that camera. Or maybe the way the color balances with the gamma, the black levels. Maybe a little more crushed, and you might need to do a little color correction to balance them. So, the objective is that hopefuLly they'll all be balanced right, or if you can control the white balance, try to compare them. But for the most part, you can mix them. I have successfully mixed multiple brands, Sony, Canon, and Nikon in the same shoot. As well as iPhone and iPad video, and Go Pro video. Go Pro was, I mean it worked great. We actually have a Go Pro camera here. It stands out because of the distortion and what not. But it was something that people accept. As a matter of fact, I always like to hang a Go Pro as a behind the scenes when I'm cutting something, because it's a great emergency camera that I don't have to look at lips move, and I can always cut to it as an emergency. And the audience is accepting of that now. So don't let the thought that I don't have matching cameras, I don't have the same level of cameras. If you have something that can record video, and you want to get as many angles as possible. Go ahead and set it up. Get a little tripod for your iPhone. Get a little tripod for your iPad. You know, I say tripod because you want things to be nice and static. So use whatever you have, and you should be able to make it match. And premiere is very, very flexible on merging all of those cameras. And one thing I didn't mention is, it's also very flexible on merging all different formats. So we had talked about codecs and wrappers and all that, don't worry about that. It doesn't care what codec. It's codec independent. So you can just bring it all together and it works. And that's the beauty of it. It's easy and it just works. Well let me bring up some workflows that you should follow. So in an ideal situation, you should record audio on every device that you can. And I say that because the ideal way to sync up your cameras is using the sound that you record. The audio waveforms. So even if you're not gonna use that sound from that camera, Premiere can use that sound to align it with all the other cameras that you're recording. And then you can choose which camera has the best sound, and use the sound from the best camera. And the other one, you don't have to worry about. It's very similar to, we learned in an earlier lesson, we merged the audio that was good audio, with camera audio. This is just taking it to the next step. You're merging good audio with multiple cameras, and that good audio could be recorded separately on an audio recording device, like a zoom. Or a zoom h4n, or I actually have used iPhones, older iPhones. I've got microphones for them, and that was a wireless mic. I wasn't wireless. I put it in the person's pocket, clipped on the lavalier, hit record on the phone, and then I just emailed myself the audio file. And there's a lot of third party applications that you can download for phones, that give you much more control then the native voiceover, or notes application. And I've gotten some great sound from these iPhones that is old iPhone 4, and I don't have to worry about wireless. The person can be standing 20 feet away, and I'm getting real clear audio, and I can sync it up. So it's being able to open yourself up to trying new things. And you can really get some cool stuff leveraging multi-cam. So without more questions, but we're gonna get some more questions, let's open up Premiere. Take a look at what we have, start putting it together. And as we go through, if you think of production questions, it's not too late to ask those. And of course as we continue to go through, hopefully you'll be as excited with this as you have been with the other cool features that we have discovered within Premiere. So this is a project, I've already imported the video. Because you don't need to see me do that again. As a matter of fact, we're using the Mike Hagan interview that he and I did, as well as some of that footage. So it's pretty standard. But what we're doing here, is I have all the cameras I through into a folder, okay? We recorded this with three cameras, even though we have four. It looks like four. We had a master camera, which was a Canon C300, just so people can know what it was, because it recorded at a slightly different format. That .mxf format. So there's one flavor. Of course, all of this was recorded at 1920X1080, 30 frames per second. Except all of it wasn't, because one camera was recorded at ultra high definition 4K, and I actually turned that into two cameras. That was actually turned into camera two and three, the over the shoulder shot for the 4K. And then the camera three just close up. I just zoomed in because I had such high resolution, so I had actually a cutting camera. Now for those folks who have downloaded, who have bought the course and are downloading the media. I did convert this all to .mp4, so it's smaller and easier for you to download. You didn't want to download a 60 gigabyte file. So if you don't see that it says mxf, or that it's 4K, I've kind of pre-baked it so you can enjoy the multi-cam experience, versus dealing with all these different footages, which it would naturally anyway. So, those are the, we had that one camera that recorded 4K. It was actually a little camera, and then the third camera was just a Canon 5D. Again, a different flavor, different format, different lens, Yet, we're gonna blend them all together. And then we also recorded the audio separately on a zoom h4n, which is a little pocket recorder that you can buy, just as a backup. So I have all of this flexibility, and I'm gonna merge this together. You do notice that they word 29.97, that is an ideal. I also have gone in, and I have renamed the cameras for convenience. So that when I switch to them or look at them, I know what they are. Instead of whatever the camera name was. And so, you can do that either before you ingest it, you can change the name of the original media. Or once you ingest any file, you can click on it, and when you click on it, you can rename it. So I could change this from ST00 to DSS, dual system sound audio. You know, it's just another way of identifying it. And this doesn't change the name of the original file. It's a database, that's all Premiere really is. It now knows that this name goes to that original named file. We already did project management in a previous lesson. And if you can recall, there was a checkbox that when you manage a project and copy media, you can choose to rename the copy media, based on the names you changed here. So that's just a nice little technique that if you wanna go, and while you're editing, rename clips, and then when you media manage it, you can go ahead and have them be named exactly what they're, you know, describing what you're shooting. So when you go back, it's easy to find, instead of ST0001. So those are the pieces of media that we'll be working with.

Class Description

Short on time? This class is available HERE as a Fast Class, exclusively for Creator Pass subscribers

Join one of the best editing instructors, Abba Shapiro, to learn how to work effectively in Premiere Pro®. In this series, you'll learn the tools that allow you to build a story with video.

Abba will cover essential topics such as creating time-lapse videos, building a rough cut, working with audio, and incorporating motion and titles in your videos. Abba will show basic color correction techniques, as well as incorporating filters to enhance the look of your final video.

Lesson Plan

  • Understanding Editing 
  • Tour the Interface 
  • Building a Rough Cut 
  • Refining Your Edit 
  • Working with Audio 
  • Transitions 
  • Filters & Effects 
  • Motion and Animation 
  • Titling and Graphics 
  • Speed Changes 
  • Color Correction 
  • Finishing: Prepping for Output 
  • Sharing and Exporting 
  • Ingesting Media  
  • Media Management & Archiving 
  • Multi-Camera Editing 
  • Creating Timelapses 
  • Advanced Editing Techniques 
  • Thinking Like an Editor 
  • Green Screen, Warp Stabilizer and other Special Tools 

By the end of this class, you will feel proficient in creating video with this complex program. If you've been paying for Adobe's Creative Cloud, this is your guide to understanding and using one of the best tools within your subscription. You’ll be able to bring your images to life, organize your media and begin to build stories to share with your family, friends, and clients. If you’ve been thinking about expanding your business to include video, this class will give you the tools to successfully start creating quality products that will impress!  

For more interaction with Abba during the bootcamp, you can join his Facebook group: 

Abba Shapiro CreativeLive Facebook Group 

"Great class -- wasn't ready to take the leap into Premiere Pro until I had a framework. Not only did Abba give me that framework, but he gave me the tools to manage and balance the story, the editing process, and the start to-finish workflow to create a finished product. And it was fun!" - Creative Live Student 

Software Used: Adobe Premiere CC 2017


  1. Understanding Editing: Bootcamp Overview
  2. Understanding Editing: Overview
  3. Understanding Editing: Video Examples
  4. Tour The Interface: Digital Video Workflow
  5. Tour The Interface: Project Panel
  6. Tour The Interface: Choosing Your Shot
  7. Tour The Interface: Music And Voice Over
  8. Tour The Interface: Video Tracks
  9. Tour The Interface: Edit Markers
  10. Building a Rough Cut: Cut Planning
  11. Building a Rough Cut: Selecting Media
  12. Building a Rough Cut: The Edit
  13. Building a Rough Cut: Edit Points
  14. Refining Your Edit: Preparation
  15. Refining Your Edit: Making Cuts
  16. Refining Your Edit: Using Markers
  17. Refining Your Edit: J and L Cuts
  18. Refining Your Edit: Replace Edit
  19. Working with Audio: Overview
  20. Working with Audio: Levels
  21. Working with Audio: Music
  22. Working with Audio: Mixing And Syncing
  23. Transitions: Overview
  24. Transitions: Effect Controls
  25. Filters & Effects: Overview
  26. Filters & Effects: Using Multiple Filters
  27. Motion & Animation: Motion And Animation Overview
  28. Motion & Animation: Movement With Still Images
  29. Motion & Animation: Picture In Picture
  30. Motion & Animation: Motion Effects
  31. Titling & Graphics: Overview
  32. Titling & Graphics: Advanced Tools
  33. Titling & Graphics: Roll And Crawl Effects
  34. Titling & Graphics: Working With Photoshop
  35. Speed Changes: Overview
  36. Speed Changes: Stills And Variable Speeds
  37. Color Correction: Overview
  38. Color Correction: Lumetri Scopes
  39. Color Correction: Contrast
  40. Color Correction: Advanced Tools
  41. Color Correction: Adjusting To A Master Clip
  42. Finishing: Prepping for Output
  43. Finishing: QC Edit Points
  44. Sharing & Exporting: Overview
  45. Sharing & Exporting: Size And Quality
  46. Ingesting Media:
  47. Ingesting Media: Transferring And Importing
  48. Media Management & Archiving
  49. Multi-Camera Editing: Overview
  50. Multi-Camera Editing: Creating A Sequence
  51. Multi-Camera Editing: Switching Multiple Cameras
  52. Multi-Camera Editing: Finalizing
  53. Creating Timelapses: Shooting Strategies
  54. Creating Timelapses: Editing Images
  55. Creating Timelapses: Importing Strategies
  56. Creating Timelapses: Animation
  57. Advanced Editing Techniques: Take Command Of Your Timeline
  58. Advanced Editing Techniques: Transitions
  59. Advanced Editing Techniques: Keyboard Shortcuts
  60. Advanced Editing Techniques: Preference Hacks
  61. Thinking Like an Editor: Editing Choices
  62. Thinking Like an Editor: Telling the Story
  63. Special Tools: Warp Stabilizer
  64. Special Tools: Morph Cut
  65. Special Tools: Green Screen


a Creativelive Student

I've never even tried video editing before this class. I opened the program once and panicked. After only 9 lessons I was able to throw a short video together (basic of course, but still pretty cool). I wish all of my teachers growing up were just like Abba. He goes over everything without dragging anything on for too long. He repeats things just enough for me to actually remember them, and he is funny. He keeps it fun and shows that even he makes mistakes. I can't even believe how much I have learned in less than a quarter of his class. I have a long way to go and am very excited to learn more. This class is worth every penny and more! I was hesitant on buying the class because I have CS6 and he works with CC, but I have already used what I've learned in his course to create a video. The first 9 lessons were already worth what I paid for the entire course. Thank you, Abba! You are an awesome teacher! You have me absolutely obsessed with creating right now! I highly recommend! You won't find this thorough of a course for this decent price!

Patricia Downey

Just bought this yesterday and cannot stop watching!!!! What a FANTASTIC teacher-- just love the way he explains everything. For someone like me (who has a zillion questions) it is perfect. As soon as he introduces a feature, he explains several aspects in such a way that's easy to grasp and remember. So, so happy I got this. Thank you Abba and CreativeLive!

a Creativelive Student

I am only on lesson 19 and I am so glad I bought this class, so worth it and Abba packs so much information into these lessons its crazy. I will for sure have to come back and watch again when I need to remember to do stuff or need a refresher. He is funny and quirky and a great teacher. I so recommend this to anyone wanting to become a better video editor!! I am coming from being self taught and using iMovie and he makes it so simple and understandable. Can't wait to learn more :)

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