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Multi-Camera Editing: Switching Multiple Cameras

Lesson 51 from: Adobe Premiere Pro CC Video Editing: The Complete Guide

Abba Shapiro

Multi-Camera Editing: Switching Multiple Cameras

Lesson 51 from: Adobe Premiere Pro CC Video Editing: The Complete Guide

Abba Shapiro

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Lesson Info

51. Multi-Camera Editing: Switching Multiple Cameras

Summary (Generated from Transcript)

The topic of this lesson is multi-camera editing in Adobe Premiere Pro CC.


  1. How do you switch to the multi-camera editing environment in Adobe Premiere Pro CC?

    You can switch to the multi-camera editing environment by going to the wrench icon and selecting multi-camera editing.

  2. What are some things to keep in mind when switching between different camera angles?

    It is important to have slightly different framings for the camera angles to avoid jarring cuts.

  3. How do you trim the head of a clip in Adobe Premiere Pro CC?

    You can trim the head of a clip by using the Q key.

  4. How do you switch between different cameras when playing a multi-camera sequence in Adobe Premiere Pro CC?

    You can switch between different cameras by simply clicking on the camera you want to cut to while the sequence is playing.

  5. How do you fix a mistake in the multi-camera sequence if you cut too early or too late?

    You can fix a mistake by using the roll edit tool to move the cut point or by right-clicking on the cut and selecting a different camera angle.

  6. How do you remove a section of a multi-camera sequence in Adobe Premiere Pro CC?

    You can remove a section by using the cut tool or by marking in and out points and using the extract or lift edit.

  7. Can you add additional footage, such as a reaction shot, to a multi-camera sequence?

    Yes, you can add additional footage by using the three-point edit or by dragging the footage onto the timeline and making sure the audio is not active.

  8. How can you adjust the timing of added footage in a multi-camera sequence?

    You can adjust the timing by using the slide edit or by using other trimming techniques.


Class Trailer

Understanding Editing: Bootcamp Overview


Understanding Editing: Overview


Understanding Editing: Video Examples


Tour The Interface: Digital Video Workflow


Tour The Interface: Project Panel


Tour The Interface: Choosing Your Shot


Tour The Interface: Music And Voice Over


Tour The Interface: Video Tracks


Tour The Interface: Edit Markers


Building a Rough Cut: Cut Planning


Building a Rough Cut: Selecting Media


Building a Rough Cut: The Edit


Building a Rough Cut: Edit Points


Refining Your Edit: Preparation


Refining Your Edit: Making Cuts


Refining Your Edit: Using Markers


Refining Your Edit: J and L Cuts


Refining Your Edit: Replace Edit


Working with Audio: Overview


Working with Audio: Levels


Working with Audio: Music


Working with Audio: Mixing And Syncing


Transitions: Overview


Transitions: Effect Controls


Filters & Effects: Overview


Filters & Effects: Using Multiple Filters


Motion & Animation: Motion And Animation Overview


Motion & Animation: Movement With Still Images


Motion & Animation: Picture In Picture


Motion & Animation: Motion Effects


Titling & Graphics: Overview


Titling & Graphics: Advanced Tools


Titling & Graphics: Roll And Crawl Effects


Titling & Graphics: Working With Photoshop


Speed Changes: Overview


Speed Changes: Stills And Variable Speeds


Color Correction: Overview


Color Correction: Lumetri Scopes


Color Correction: Contrast


Color Correction: Advanced Tools


Color Correction: Adjusting To A Master Clip


Finishing: Prepping for Output


Finishing: QC Edit Points


Sharing & Exporting: Overview


Sharing & Exporting: Size And Quality


Ingesting Media:


Ingesting Media: Transferring And Importing


Media Management & Archiving


Multi-Camera Editing: Overview


Multi-Camera Editing: Creating A Sequence


Multi-Camera Editing: Switching Multiple Cameras


Multi-Camera Editing: Finalizing


Creating Timelapses: Shooting Strategies


Creating Timelapses: Editing Images


Creating Timelapses: Importing Strategies


Creating Timelapses: Animation


Advanced Editing Techniques: Take Command Of Your Timeline


Advanced Editing Techniques: Transitions


Advanced Editing Techniques: Keyboard Shortcuts


Advanced Editing Techniques: Preference Hacks


Thinking Like an Editor: Editing Choices


Thinking Like an Editor: Telling the Story


Special Tools: Warp Stabilizer


Special Tools: Morph Cut


Special Tools: Green Screen


Lesson Info

Multi-Camera Editing: Switching Multiple Cameras

So what we wanna do is, we wanna switch to a multi-camera editing environment. If you go underneath this wrench, and you'll find wrenches throughout the interface, this allows you to modify things, the way you view things, or the way things play back. In this case, you can go in and we're gonna switch to multi-camera editing. And I wanna point this out and a couple other things. Sometimes people will accidentally turn things on and off, in this or in any of the wrenches. So sometimes you're just like what's acting weird? The alpha's the killer, some people say, "I'm looking at my playback and I see nothing. "No matter what I do it's like, clear." It's because they turned on, I'm looking at the transparency channel and there isn't one. Okay those are like one of the gotchas, that people have called me up at three o'clock in the morning, and I'm like, it's three o'clock in the morning, it's like, I know, but... I'm charging you two dollars for this call. And mom, don't call me again, no.

(laughs) So these are things you can turn on, showing markers. Remember there was a question if you could turn off markers, when we talked about markers? That's it, you go to the drop down. And these are usually independent between, the source has it's own dropdown, and the program has it's own dropdown. I'm gonna switch to multi-camera video. And what you're gonna see is my layout will now change. Let me zoom all the way back. This is why I wanted to stretch that out to the left, because now, in my program monitor, I have my four cameras, and then I have what goes to the air, okay? So this is my studio camera, my studio environment. The first thing I'm gonna do is let me trim off the head of this clip when I start talking. (audio scrubbing) So there I start talking. To trim off the head, the Q key, we learned that, very quick. So, I'm gonna play this. (audio scrubbing) I've seen a lot of your work. Oh wowm I cut off too much. Undo. (audio scrubbing) So, obviously in my gabbering, I probably did mark an in point. So I cut myself off, so let me go ahead and trim that back. Blah blah blah blah blah, camera camera camera camera, jkl. Wiggle wiggle wiggle, look bored. Just giving you the play by play. If you can't do it, there we go, Kill the fly and... And our audio. Boom, cue. I'm ready to switch. Can't be easier. I'm gonna simply play, and I am going to click on whatever camera I want to cut to as I do it. So I'm playing on the fly. Welcome. Thank you. I've seen a lot of your work. Me. Real pretty stuff. Tell me a little bit about your photography, (crosstalk) photography. Over the shoulder. Like a lot of photographers, I started when I was really young. Close up. I think I was 12 years old. My dad bought me an Argus C3, Two shot. An old film camera. It was great, it was all manual. He even gave me a Sekonic light meter. Close up. Remember. Now I do want to point something out with the cameras. Okay, that's how easy it is, and before we go to the exciting part of playing back, do you notice that when this was shot, and in this case recreated, I tried to have the cameras to be slightly different framings? So if I'm cutting from a two shot to a two shot, I don't necessarily want them to be both the same size, because that's jarring. But if there is some change in size of the people in the frame, that's more natural. So you don't want to necessarily match. You can cut from head to head, but I won't wanna cut from like his head in a close-up to another camera in the same size from a different angle, because then it seems like a jump cut. So that's one thing to keep in mind when you're shooting. Now you saw, I got to watch that. I'm gonna go ahead and I'm gonna zoom into my timeline so we can see exactly what's happening. And I can hit the plus key. I wanna show you a really useful feature. One of the keyboard shortcuts is the zoom shortcut. And this is gonna be a tricky one, cause you know I trick you. What do you think the keyboard shortcut is for zoom. Z. Z. Wrong, it's zed. We're all Canadian. (laugh) No (laugh). Yes it's z. Z and zed for the folks in Australia and Canada, and other zed countries I have forgotten. So I'm gonna hit the z key, and if I just lasso the clips I want to zoom into, it will zoom in precisely to those clips, okay? Nice little feature, I'm gonna hit shift plus so we can actually see our video, see our audio. And let's go ahead and play that back. So Mike, Welcome. Thank you, yeah. I've seen a lot of your work, real pretty stuff. Tell me a little bit about your photography, what got you into photography. Like a lot of photographers I started when I was real young. Wickedly cool isn't that? Wow. Wickedly cool, that easy. So I could continue to go. If I go on and wanna edit some more, I'll zoom out just a little bit. I could pick up wherever I left off. Hit play. (crosstalk) because I started when I was real young. Click. I think I was 12 years old. Now I did a brilliant job cutting before, right on the spot. But let's say I mess up. Let's say I accidentally cut too early, cut too late. Lot of ways to fix that. First of all, remember that thing we could do called the roll edit? Let me switch back to my selection tool. I can do a roll edit between any of these cuts, if the cut point is off. So if I cut too early or too late, I just simply move the cut point, easy easy peasy, okay? Maybe I cut to the wrong camera. Maybe it shouldn't be me listening. Maybe it should be this camera here. And I have a couple of options when I do that. I can right-click on it, and inside my drop down menus, I have a choice to switch what camera I'm looking at. So if we go down here, and I'm gonna zoom in so you can see it. I can say, "Ah, I should've been on camera two." And I simply go, multi-camera, go to two, and it now switches to camera two. So you have that luxury, real easy to change. If I have the play head parked in the middle of this clip, and I click on anything in the window whiLe it's not playing, it will swap out the clip also. So whatever works for you, maybe you're in the timeline. "Uh, I just know what camera I want." Or maybe you go ahead, and you go, "Oh yeah, I'm gonna switch that." So switching cameras is easy as simply clicking on it. Now what if I wanted to do a cut? Look what I just did there. I'm gonna undo that and redo that. Maybe I wanted to cut to another camera, and I forgot, okay? So I could go back and play, and try to cut on the fly, or I could get the cut tool and cut it. Instead, if I hold down the command key, okay? Or the control key on windows. And let me zoom out so you can see what happens, and I say, "Oh yeah, I wanna cut here "from this two shot to my reaction "with the command or the control key held down." When I click, instead of swapping, it makes a cut and swaps out what's coming next. So I actually made the cut, still have the first shot, and now I'm cutting to my face. Make sense? Wanna run one more time? Feel free by the way, any time that I go through something quickly, and I see the big question mark above your head. Sometimes I don't see it before it dissipates, say "Repeat, run that by me again." Because it's usually helpful. So I'm gonna hit undo. So what I wanna do is, I forgot to switch cameras here. So I wanna switch cameras, but I don't wanna switch to a different shot. I wanna actually make a cut, and go to a different camera. So all I have to do is hold down the command key, choose which camera I want. Instead of it actually swapping out the entire camera angle, it puts a cut in. Let me see if I can even zoom into the timeline a little bit more. Okay? Holding down the command key, control on windows, boom. Put in the edit. Put in the new camera. The rest of the edits are just fine, okay? You know, again, look at how flexible it is once you've done the switch, okay? We can do rolls. And then the other things we can do, is let's say we've come through and I'm cutting, and I know there's a whole section. Let me hit this back slash key. That I don't need, you know? I wanna cut this whole area out. So all I'm gonna do is, I'm going to do command + k. Command + k is the shortcut way of doing a cut, without having to go to the cut tool. Command + k, puts the edit in. I can go and say, "You know something, I need to "remove this chunk." I can do it as a trim edit, just trim that off. I'm gonna switch to the old trim, so you can kind of see really what I'm doing, okay? Let me make sure I have both audio and video selected. So I'm gonna go, "Cut!" Make sure I have both things selected, I'll lasso them. And then I can just trim, and now this stuff is out. All the editorial techniques that we have learned, you can leverage. If there is a big chunk where people, you know that you want out, you mark an in and an out point. We learned there was a type of edit that we could do to either lift or extract. And that was either the semicolon or the apostrophe, so I wanna do an extract. I simply hit the apostrophe. Removes that chunk. Remember, non-destructive. If I did too much, bring it back. Here's the cool part, it still is multi-cam. I can go through, now remember, we lost two of our cameras at one point. Yeah, since the technical side. I try to use all three of my cams at one point. (audio skimming) Oh no, this is why I was (mumbles). I was looking at these two, and I'm saying, "Where's the other cameras? "Oh, it's over here." So I know right now I'm gonna switch over. It's not moving. Go ahead to my wide shot. And now we could just cut back and forth, to view my closeups. Yeah, exactly, yeah. Since the technical side's gone, there's no excuse for people not to be. Okay, so now we have those two cameras. Even though I lost two cameras, what it does is for the other two, it just puts in what we call a slug or camera black. So you could switch to it, but there's nothing there. If you're in a situation where you did turn the cameras on and off, and it successfully syncs it up, you may see it disappear and then reappear once this second camera. Like if I turn that second camera on again, it would be able to sync that up. So you can actually sync up cameras that get turned on and off again with the audio. Okay? So, it's very very powerful. As you can see, lots of, all the editorial techniques you can do. I want to open for questions, but then I also want to show you if I created the multi-cam sequence using a couple of the other audio parameters. And also the waveform, and then dig down and show you what's happening inside basically the nest that has been built from the four camera angles. Let's say we had a reaction shot on another camera. In the middle of a long clip, you wanted to insert that reaction shot. (mumbles) So in other words, I don't have a good reaction, but you want to use one of my other reactions? Yes the reaction that (laughs) (mumbles). I am nodding off, and instead you need to cut away and you need me going. Yes, that's a great question. And again, the same tools we had are available to us. So I have a couple ways that I could do that. We could use the slip edit. So if I cut to me, and I'm just looking, I'm not talking. I just want the reaction. Instead of me looking like I have no clue what you're saying. What are you talking about? I could go in. I hit "y." I'm doing a slip edit. And I could actually slip that reaction to a few. And this is good if you're going within a few seconds, cause it's right there. So I could slip anywhere, and what it does, is it actually changes the cutaway. The audio is still consistent. Do you notice? And we turn this on when we talked about syncing. It says this video is out of sync with the audio. But all I'm doing is nodding my head so it doesn't matter. So you can actually do slip edits. Exactly, yeah, since the technic. You know, obviously there you cut to me, and I'm going (noise), which isn't good. So that's one way of doing it, but let's say that that nod that you want is three minutes earlier, okay? So you don't want to necessarily slip, slip, slip, Oh, it'd have to be slide, slide, slide. No, slip, slip, slip? I don't know, I'm all over the place. No, it is slip. I just like saying those words. So I have a couple of ways to do this. I have this clip. If I go ahead, I could just go back to the original footage of the processed clips. I could go over to where I have my close-ups, and let me go ahead and stretch this back out. Okay, so I could go here and find a good reaction shot. (audio skimming noise) Mark an in point, let's see. Okay? (laughs) Okay, there's my out point. I think I actually successfully did mark that. Okay, good. That's all of one second long. Maybe a little bit longer before I start talking. So now I have my in and my out point. I have a couple ways I could do this. If I want to be really bullet proof, I could go ahead and target V2, and do our three-point edit or overwrite it. I could simply drag that to the timeline on to two, or since I've targeted two, audio is not active. I could simply hit the period key, and it doesn't overwrite. So now I have, and this is probably my preferred choice. Cause I can really slide it around. (laugh from class) Yeah, there we go. Technically I could actually do the edit in here. I'm gonna mark an in and out point, and I could put it into the sequence. Again, the audio is not active, so it's not gonna mess up the audio. So if I hit that period, it's gonna come up with, I have in and out points in all of my clips. I don't care about the source. So I'm gonna ignore the source out point, hit okay. Let me zoom out and do that. Oops, I guess we'd have to target back here. There we go, period. Ignore the source out point. Hit OK. And now it actually put it into the same alignment here. And you can do all the edits. I could do a roll edit still, but this now is never gonna be multi-cam. I can't switch easily, but I could go in and I could change the timing between the reaction and slip it around. I generally probably put it on the track above, but it works, and it follows all the rules of trimming and ripple edits and what not. And it was a video only edit. So let's say I liked my head nod, and we learned about the slide edit before. Here's an example where like, "Oh I put it in, "but I want the nod to happen at a different point." Switch to the slide edit. That's the "u" key, cause you know it's just the shape. U is to slide. And now I can say, you know something, my reaction has to be here. So, it's still the same head nod. So this is the beauty of mixing our trimming skills that we've already learned with the multi-camera. And this is great because, here we have a reaction shot, but maybe I want to put B-roll in of what he's talking about. I could put it within the same line, or I could put it on the next level up. So I really love the fact that this is easier than easy.

Class Materials

Bonus Materials with Purchase

Abba Shapiro's Work File Information
Building a Rough Cut - Project Files
Refining Your Edit - Project File
Working with Audio Project File
Motion Effects - Project Files
Titling and Graphics - Project Files
Speed Changes - Project Files
Color Correction - Project Files
Finishing - Project Files
Multi-Camera Editing - Project Files (Large Download - 3.25GB)
Creating Timelapses - Project Files (Large Download - 1.25GB)
Thinking Like An Editor - Project Files
Special Tools - Project Files

Ratings and Reviews

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 :)

Student Work