Photo & Video > Videography > Adobe® Premiere Pro® Cc Video Editing: The Complete Guide > Multi-camera Editing: Switching Multiple Cameras

Multi-Camera Editing: Switching Multiple Cameras

 

Adobe® Premiere Pro® CC Video Editing: The Complete Guide

 

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 Description

This is the class I've been waiting for! Learning the software is one thing, but to watch an experienced editor at work is priceless. It also helps that Abba is an incredible teacher. He's able to hold my attention and explain things in a way that I actually retain the information." - April, Creative Live Student  

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

Lessons

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