On Thu, 05 Sep 2002 17:37:23 GMT, Gary Eickmeier wrote:

>Neuman - Ruether wrote:
>
>> I covered both the reasons for the high number of cameras,
>> and how the decisions were made in the article - did you
>> read it? ;-) To retell: after a selected clip is cut on
>> the right end, the cut end is rolled to the right while
>> watching it in the preview window; when a part of interest
>> is seen, the roll-back is stopped until the rest of the
>> edit catches up with this point, at which time the decision
>> is made to keep or delete this part of this camera's
>> track. This process (and the fact that synch. among the
>> tracks is maintained unless there is a good reason for
>> breaking it) makes it very easy to "keep track" of all
>> the material of interest. The "base" 1 or 2 tracks are
>> the ones of greatest interest and used-time, and these
>> are placed at the bottom of the "stack"); the others are
>> "cutaway" tracks, which get mostly rolled away in the
>> process of editing, revealing the lower tracks. Keeping
>> all but one track above tracks 1A and 1B permits softer
>> "S" dissolves for all tracks, and leaves space for clips
>> to be dropped down to track 1 for other transitions to be
>> used. The whole edit can be done surprisingly quickly,
>> once everything is set up "ready to roll"...;-) BTW, the
>> sound edit is done before anything else and then is
>> consolidated into a single audio track, since some sound
>> used will be missing after the picture editing is
>> finished (the odd sound clips remaining are retained only
>> for resynching purposes, but are removed near the end of
>> the process). Notice that I do not use the dual-window
>> Premiere interface, but use a more timeline-oriented
>> approach (with a single, full-sized, hardware overlayed
>> preview image [with Raptor] that is considerably more
>> useful than the soft, tiny preview images normally used
>> [a good 20" TV supplements this view...]), with all edit
>> decisions being made on the timeline... (See:
>> "Premiere Basics for Intuitive Operation Using Timeline
>> Editing", at www.David-Ruether-Photography.com/premiere.htm,
>> and "Multi-Camera Editing in Premiere", at
>> www.David-Ruether-Photography.com/multi-camera.htm.)

>Hi again David -
>
>I have to go to Rome - like now - and would love to discuss this
>further, but the gist of my comment is that in my experience, or with
>my particular style, the cuts to the various cameras should be done
>based on the rhythm of the piece as well as which camera has an
>interesting view at any instant. You can't get a very good "feel" for
>the program editing as you describe - unless you have more hidden
>secrets.
>
>Back at ya in a week -
>
>Premiere Newbie -
>
>Gary Eickmeier

I suspect that you come from a "live switching"
background...;-) As I pointed out, NLE trades
speed for control accuracy - I would be lost in
a live-switching environment, but with the process
described above, I can, at my leisure, consider all
the camera views for best selection and transition
point (without needing a six-way split screen view
to work with - this would diminish my ability to
check details in the image about to be chosen),
and I can easily check my results for "rhythm" by
playing back parts of the edit (and then making
corrections, as desired). I can also synch. things
*exactly* to music starts, bell strikes, or
whatever - and can easily add inset images, which
I found useful in this project for showing the ring
exchanges in close-ups within a better overall image
(things that would be much more difficult with
live mixing...). I can also correct camera image
tone/color/sharpness issues more easily with a good
NLE than live (4 different cameras, needing matching,
were used), and the set-up is ***FAR*** easier with
my method than with on location switching - I often
am guaranteed only one hour before the event for
setting-up gear, and being a "one man show", that
would be impossible in the areas I often work in
if I went live (which I would not do, even if I had
the time to lay out the gear required for doing it
on location, or could do it while editing...).
We have different working method preferences, and
we should not be debating here the merits of live
switching vs. computer NLE and "deliberate
choices" - they have obviously different functions
and advantages/disadvantages, and these two very
different approaches do not serve the same purposes
other than to produce finished videos... I prefer
NLE for my work, since I work alone - but I still
want to be able to produce videos more like what
the big outfits can make with a staff and good
budget, and I presented a method in an article on
my web site that is efficient for me for doing this
(at www.David-Ruether-Photography.com/multi-camera.htm).
I thought others might benefit from my experience
who want to do the same - but nothing is forcing
anyone to go this route. If you prefer live
switching, either on location or during editing,
stay with it...
I trust you had fun in Rome!