Maybe it's the heat, or maybe my way of using Premiere is
too different from yours (I make the preview window
single-view, 720x480 - and make all editing decisions on
the timeline...), but I'm not getting why you are having
difficulty... For multi-camera edits, I lay out in
synch all the material on V1B, V2, V3, V4, with V5 used
for extra bits (I renumber the audio tracks to match the
video tracks (easier to keep track of...), and add 1 or 2
extra [silenced] for keeping audio I might need from
tracks I've dumped the video from [I sometimes use a
"no-see" V6 track for video bits storage - this allows
me to keep speculative material in synch. with the rest]).
For multi-takes, I throw out the pieces that won't be used, gather the remains into groups, and arrange each
group
of takes vertically along the timeline (maybe ordering
them from top to bottom in order of preference), then
assemble the groups into rough order using the "lasso"
tool. From there, I select the versions from each group
to be used, and combine those choices into the video.
I try to keep things simple and direct working only on
the timeline so I know where everything is (I use
"filmstrip" view, medium-sized, so I can see the contents
of everything on the timeline [using dual-monitors
helps - with the timeline occupying more than the one
monitor...]). There is no need (beyond your own...;-)
to "neaten-up" the timeline, so whatever works for you
is the way to go (no need to collapse the tracks, cut
off unused [but unplayed] ends and clips, etc. - you
will be throwing out the whole thing once the masters
are made, so who cares...?;-). The neat thing is:
you can develop your own way of working, and the program
is versatile enough to permit that (other editors would
look with horror at my "innefficient" methods of
working - but for me it provides the to-the-frame
precision in operations and the intuitive "feel"
I want...
On Tue, 7 Aug 2001 11:13:27 -0400, "Dan Volker"
>Thanks for the response. Maybe I'm looking for a "magic carpet", but I was
>hoping for a 1,2,3 approach with "whys".
>
>I have lots of hard drive space, and no editing deck ( just my GL1). So I
>capture the entire tape to a disk drive in my step one.
>
>In step two, I can import the file into the project bin, and then drop it on
>the timeline in V1.
>
>In step three I would go through the timeline, and separate out takes ( this
>is where I run into issues without answers---a.) how to "name" these clips I
>cut out of the V1 track to drop on V2,V3, etc., and I don't "know" that the
>"set clip name alias" function will do the job---if it would, you would then
>need to copy it and paste it into the project bin ( I assume).
>
>A1.) If I use clip name alias, will premiere handle the pasting of 30 or 50
>of these clips into the project bin, without modifying the original it came
>from ?
>
>B.) So lets assume I have 30 clips on 25 video tracks ( 5 on V1 a and
>b)...Is the first step going through every single clip to find its optimal
>in and out points with appropriate handle on both sides? Or is it going
>through the master ( V1) and looking for the biggest problems--and start
>editing higher level tracks based on these problems?
>
>C.) Is there an optimal way to synch up chronology between all 30 tracks?
>
>D.) Lets assume all clips have been edited, and best choices made. I read
>about "collapsing" the tracks at this point...does this mean manually
>cutting and inserting into V1, or just allowing position and higher levels
>to overwrite during "Export to Timeline".
>
>I know this is asking alot, but I have not really found answers to these
>questions anywhere--and believe me, I have looked.
>
>Regards,
>
>Dan Volker
>
>"Neuman - Ruether"
>news:3b71f8e8.3054526@newsstand.cit.cornell.edu...
>> On Tue, 7 Aug 2001 08:09:37 -0400, "Dan Volker"
>>
>>
>> >After about 5 months of using Premeire 6 for editing, using most of the
>> >novice level tools and techniques, I would like to learn more about how
>to
>> >"benefit" from, and to use, the multi video track approach I have seen in
>> >various video books. While I've seen frame shots of this, I've never seen
>it
>> >written up with any form of explanation sufficient to make this an
>editing
>> >technique I understand well enough to use well.
>> >
>> >I assume the idea is to use this for multiple takes, so you can pick the
>> >best one. I also understand the the track on top is the one you see, the
>> >ones below won't show through the one on top, unless you select the track
>> >you want to view. You want to compare back and forth between the top
>track
>> >and individual VIDEO TRACKS to determine the best clip, and the best
>portion
>> >of each clip to use... I know how to view from clip to clip---track to
>> >track, but I need some form of creative strategy and flow to use to make
>> >this type of editing useful. Does anyone have a strategy article on this,
>or
>> >be willing to offer some form of gameplan for this type of aproach?
>>
>> Seems if you know how to do all the above, what else is
>> there...? ;-) Just start, and edit...;-) It becomes clear
>> soon what your particular needs and procedures will be.
>> I do 4-camera edits often in Premiere (and sometimes
>> multi-take edits) - I choose what I want to use (I sometimes
>> reserve a bit of the unused clips hidden under other tracks
>> or on one "blind" video track, so if I change my mind later,
>> it is easy to "pull out" a clip to restore it [and it is
>> still synched with the other material]), and use cuts or
>> the "rubber bands" for "shaped" dissolves (or drop bits
>> down to V1 for other transitions) to edit, deleting
>> material I'm sure I don't want. BTW, when editing together
>> multi-camera clips when all is "real-time", without time
>> edits, I first edit and mix the sound and export/import it
>> as a single file so I don't need to worry about what happens
>> to the sound associated with the individual clips. I then
>> silence or remove the sound tracks from the clips.