Very helpful even after two years. I just took on a project to edit an aviation video that has all the worst problems: four GoPro cameras, one 360 camera, separate audio feed, broken clips, inaudible audio on the cameras (audio synchronization is impossible). What ended up doing was to put all the clips on separate timelines syncing each one to the one camera that ran the entire flight. I then turned each timeline into a compound clip which added gaps between the broken clip segments. Then from the file viewer, I put a marker at a consistent audio sync point at the beginning of each compound clip and created the multicam from the compound clips and audio clip using the markers to sync.
I really liked your style in this tutorial. It sounds unscripted in that the expression in your voice is spontaneous, and it communicates much further than when you are reading, in my view. Even though I hardly ever do or have done multi-cam, lots of your tips were useful for any kind of editing. And I feel that next time I do try multi-cam, I'll be more prepared. Last time I tried it was pretty disastrous. THANK YOU.
Mark, I don’t know why you all don’t have a larger following. Tips like these for FCPX are Gold in my 49er hands. I am working way harder then I need too with multi cam shoots. Thank you so much sir.
RemekTek Media Numbers are relative of course. And I was stating how awesome they’re. Which is why I thought they’d have more followers. BTW, hardly anyone whom follows is dedicated, at least truly. Thank you for your input.
The Ripple Training courses are so helpful, I promote them whenever a question arises about FCPX when it's clear that someone needs an understanding rather than just an answer.
Thanks for the tip on camera angle, and for option-R for lower thirds. Been doing a lot of multicam edits the past five years and still had something to learn.
I want to add one thing for your audience, Mark, if I may, who may also be facing massive multicam edits. Probably you would not be able to do this in your situation, but you might be able to do part. I now record multicam *direct to disk*, which saves an immense amount of editing time in post. I have five cameras feeding into a BlackMagic Design ATEM HD Television Studio. Second system sound (radio lavs, 4-channel mixer, Behringer Shark for the necessary 145ms delay, so audio syncs perfectly with vision), and the resulting signal is cut between the cameras, and then recorded onto a mirrored RAID, all live. At the end of whatever we are producing, only topping and tailing is required and (in your case, perhaps) the addition of the Go Pro footage and a few supers (what you call Lower Thirds). What used to take 5-10 hours PP per hour program cutting multicam after the event now takes less than an hour. And the software that drives the BMD mini recorder can select different compressions, too, in the recording process, so I don't need to go through Compressor to finish before uploading. In your situation, a second person could switch the three studio cameras, couldn't they, so that your post could be really simplified?
Thanks, Kit, interesting - our edit studio is located several hundred yards away from the production truck so not sure we could do this workflow but will investigate for next year.
@@markspencer1203 The time it has saved us in production for our Vimeo on Demand channel is immense; all our cameras are fixed, so we can use different parts of the set but without needing operators-one person presenting and demonstrating on camera, and one switching. Of course, your production is much more complex, but even having a second person switching the three studio cameras would save a LOT of time. This kind of hybrid recording has a future, I think, and compared to the old school one-camera-and-one-audio-recorder multiple setups "Hollywood" system, this hybrid approach preserves the spontaneity of a live performance. We never edit mistakes out either.
Excellent tips. I already knew several of these as I have purchased the Multicam and WarpSpeed Editing tutorials, but I still learned a couple new things. Thank you for posting. You and Steve are the best.
I'm almost at the "lessons learned" stage of my first major multicam edit (very similar project) and this video is the perfect workflow summary to hammer home some good habits. THANKS!
Hi Mark - Great tips. Your Ripple tutorials are my favorite education resource. I would LOVE (and pay top dollar:-) for a training video on live theater multicam shoots that deals with changing light temps, the huge range of lighting, color balance, and basic setup to get the best results. Your video looks beautiful, and after having struggled with a very challenging capture of a live music show, I'd love to see how a pro deals with those (and other) issues.
I have the exact same interest. And I will add one more thing that would be helpful. I use Canon DSLRs and GoPro to record concerts of a choir and orchestra. The GoPros struggle to deliver consistent color as the stage lights change. I have watched your wonderful color correction tutorial, but would love any tips on configuring GoPros to be able to handle the extreme lighting changes of theatrical stage lighting.
Hi Mark, thankful for your great tips on Multicam editing. Speeds up my workflow (I film baking tutorials with 3 cams from different angles), some of them over 2 hours long. What do you actually do with the Library cache - which you stored on the desktop - once your finished with the project. Can I simply delete it?
Ah I see it works, but it's got so many increments, I'm not sure it's as usable as Shift-T (I think) was in FCP7, where it would quickly scroll through 4 track/clip sizes, but alas it's there. 😏
Lots of great little tips here. Especially adjusting the volume of multiple clips. It has always annoyed me not having the audio level option when selecting multiple clips.
As someone who shoots and edits a 40 min, 4k multicam every week I really appreciate it. I would add one additional tip (if only we could); add a shortcut key to switch from default workspace to multicam workspace? And back of course!
Dennis you can create and save custom workspaces, then apply a custom shortcut key in System Preferences > Keyboard > Shortcuts > App Shortcuts. Just type in the command name exactly as it appear in FCP X (last command only not the full path).
Mark: just brilliant. Two of these tips (chapter markers on adjustment layers, and the audio fades > keyboard shortcuts) will save hours. Is there a quick way to duck audio? Thanks sincerely.
Quickest way I know is to temporarily switch to the Range tool by pressing and holding R while dragging a range out over the area to duck, then using Control-minus to lower the volume. Unfortunately the fade duration with this method is short and may need to be adjusted. But after you've done it once you can copy - paste to new ranges and just adjust the ending.
Thanks for making this video, it's an invaluable resource. Was wondering though, what to do with the cache folder that's now on the desktop - can we delete it? Will it affect the existing projects on my SSD or desktop? Hear from you soon, thanks!
@@rippleguys At 3:57, it says on screen that Cache goes to the Desktop, and that's what I did. So do I just delete the render files? The cache folder is still on my desktop, lol!
Mark, thanks for the turn on/off "make opt media for all multicam clips". I've been redundantly making opt media for my opt media for a long time. No more, thanks to you.
If you rent Adobe Creative Cloud, they will let you download Adobe Encore CS6. It's no longer updated sadly, but it should work even in Catalina. You can do DVDs and Blu-rays. It does them both very well.
Question: If ProRes LT is visually identical to regular non-LT ProRes at a much lower data rate, why does regular non-LT ProRes exist? Are you basing that statement on actual data?
I'm basing on my observation. Keener eyes may well discern a difference and full ProRes (or 444) will hold up better to grading, keying, etc. but this show requires very little manipulation of the original pixels so PRLT is perfect.
You need to locate which projects in your library that contain that specific multicam clip and delete either the project or the mc clip within the project before you can delete it.
Yes those cameras shoot interlaced by default - they were supposed to switch to progressive this year but there was a technical issue that prevented them from doing that so we had to deal with interlaced footage - crazy, huh?
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Great tips--the one on putting markers on an adjustment layer alone was a game-changer.
Very helpful even after two years. I just took on a project to edit an aviation video that has all the worst problems: four GoPro cameras, one 360 camera, separate audio feed, broken clips, inaudible audio on the cameras (audio synchronization is impossible). What ended up doing was to put all the clips on separate timelines syncing each one to the one camera that ran the entire flight. I then turned each timeline into a compound clip which added gaps between the broken clip segments. Then from the file viewer, I put a marker at a consistent audio sync point at the beginning of each compound clip and created the multicam from the compound clips and audio clip using the markers to sync.
I really liked your style in this tutorial. It sounds unscripted in that the expression in your voice is spontaneous, and it communicates much further than when you are reading, in my view. Even though I hardly ever do or have done multi-cam, lots of your tips were useful for any kind of editing. And I feel that next time I do try multi-cam, I'll be more prepared. Last time I tried it was pretty disastrous. THANK YOU.
Mark, I don’t know why you all don’t have a larger following. Tips like these for FCPX are Gold in my 49er hands. I am working way harder then I need too with multi cam shoots.
Thank you so much sir.
Don't you think that 66,500 subscribes is pretty decent?
Quality vs Quantity ;-). 66K passionate fcpx users is pretty awesome 👏
RemekTek Media Numbers are relative of course. And I was stating how awesome they’re. Which is why I thought they’d have more followers.
BTW, hardly anyone whom follows is dedicated, at least truly. Thank you for your input.
Norm Clare See my reply above and thank you as well.
The Ripple Training courses are so helpful, I promote them whenever a question arises about FCPX when it's clear that someone needs an understanding rather than just an answer.
This GOLD! I have your full tutorial, but this summary is just excellent! Thanks. :)
GOLD indeed!
This info is fantastic Thanks You are the best FCPX info around !!!
Thanks for the tip on camera angle, and for option-R for lower thirds. Been doing a lot of multicam edits the past five years and still had something to learn.
I want to add one thing for your audience, Mark, if I may, who may also be facing massive multicam edits. Probably you would not be able to do this in your situation, but you might be able to do part. I now record multicam *direct to disk*, which saves an immense amount of editing time in post. I have five cameras feeding into a BlackMagic Design ATEM HD Television Studio. Second system sound (radio lavs, 4-channel mixer, Behringer Shark for the necessary 145ms delay, so audio syncs perfectly with vision), and the resulting signal is cut between the cameras, and then recorded onto a mirrored RAID, all live. At the end of whatever we are producing, only topping and tailing is required and (in your case, perhaps) the addition of the Go Pro footage and a few supers (what you call Lower Thirds).
What used to take 5-10 hours PP per hour program cutting multicam after the event now takes less than an hour. And the software that drives the BMD mini recorder can select different compressions, too, in the recording process, so I don't need to go through Compressor to finish before uploading.
In your situation, a second person could switch the three studio cameras, couldn't they, so that your post could be really simplified?
Thanks, Kit, interesting - our edit studio is located several hundred yards away from the production truck so not sure we could do this workflow but will investigate for next year.
@@markspencer1203 The time it has saved us in production for our Vimeo on Demand channel is immense; all our cameras are fixed, so we can use different parts of the set but without needing operators-one person presenting and demonstrating on camera, and one switching. Of course, your production is much more complex, but even having a second person switching the three studio cameras would save a LOT of time. This kind of hybrid recording has a future, I think, and compared to the old school one-camera-and-one-audio-recorder multiple setups "Hollywood" system, this hybrid approach preserves the spontaneity of a live performance. We never edit mistakes out either.
Excellent tips. I already knew several of these as I have purchased the Multicam and WarpSpeed Editing tutorials, but I still learned a couple new things. Thank you for posting. You and Steve are the best.
Just doing my first multi cam and this was super useful thanks Mark
I'm almost at the "lessons learned" stage of my first major multicam edit (very similar project) and this video is the perfect workflow summary to hammer home some good habits. THANKS!
Thanks, Mark! A great roundup of reminders!
It is so helpful! Thank you for these tips. I'm watching your videos with a notepad :)
Super helpful. Thanks so much. ✌🏼
Excellent video 👌
Some great tips for me on this one, thanks!
Great video. We watch you in Bulgaria!
Best end of year tips on youtube!
Super helpful. Thanks!
Even though I know the most of this, still these tips are very useful!
Hi Mark - Great tips. Your Ripple tutorials are my favorite education resource. I would LOVE (and pay top dollar:-) for a training video on live theater multicam shoots that deals with changing light temps, the huge range of lighting, color balance, and basic setup to get the best results. Your video looks beautiful, and after having struggled with a very challenging capture of a live music show, I'd love to see how a pro deals with those (and other) issues.
I have the exact same interest. And I will add one more thing that would be helpful. I use Canon DSLRs and GoPro to record concerts of a choir and orchestra. The GoPros struggle to deliver consistent color as the stage lights change. I have watched your wonderful color correction tutorial, but would love any tips on configuring GoPros to be able to handle the extreme lighting changes of theatrical stage lighting.
Hi Mark, thankful for your great tips on Multicam editing. Speeds up my workflow (I film baking tutorials with 3 cams from different angles), some of them over 2 hours long. What do you actually do with the Library cache - which you stored on the desktop - once your finished with the project. Can I simply delete it?
Really clutch tips, thanks!
Thank you so much for making this video, Mark!
Oh man did I just learn a new keyboard shortcut to adjust the timeline clip height, that I have been asking for for years?? Ok I gotta go try it. 😁😁😍
Ah I see it works, but it's got so many increments, I'm not sure it's as usable as Shift-T (I think) was in FCP7, where it would quickly scroll through 4 track/clip sizes, but alas it's there. 😏
What's the shortcut command for reducing the height of the clips?
Lots of great little tips here. Especially adjusting the volume of multiple clips. It has always annoyed me not having the audio level option when selecting multiple clips.
Awesome. Thank you for sharing! Subscribed just right now. 😎🤗👍
As someone who shoots and edits a 40 min, 4k multicam every week I really appreciate it. I would add one additional tip (if only we could); add a shortcut key to switch from default workspace to multicam workspace? And back of course!
Dennis you can create and save custom workspaces, then apply a custom shortcut key in System Preferences > Keyboard > Shortcuts > App Shortcuts. Just type in the command name exactly as it appear in FCP X (last command only not the full path).
@@markspencer1203 I'll be darned. I've been trying to figure out a way to do that for months. Thank you x ∞ squared
Aprendi muito com esse vídeo.
Parabéns e continue nos atualizando.
Grande abraço
Edu
From Brazil - Florianópolis
Mark: just brilliant. Two of these tips (chapter markers on adjustment layers, and the audio fades > keyboard shortcuts) will save hours. Is there a quick way to duck audio? Thanks sincerely.
Quickest way I know is to temporarily switch to the Range tool by pressing and holding R while dragging a range out over the area to duck, then using Control-minus to lower the volume. Unfortunately the fade duration with this method is short and may need to be adjusted. But after you've done it once you can copy - paste to new ranges and just adjust the ending.
Brilliant! What was the size of your internal SSD? As you've set your cache to your internal drive, wondering if mine is big enough
Great tutorial very informative
Progressive closure. Cool name for what I do. May I suggest shiftL for library and tilde (alone) for inspector :)
Oh and CMMND. For angle viewer :)
Thanks for making this video, it's an invaluable resource. Was wondering though, what to do with the cache folder that's now on the desktop - can we delete it? Will it affect the existing projects on my SSD or desktop? Hear from you soon, thanks!
Curious - why is the cache on your desktop? It won’t affect your project or work - it’s used to store Render files
@@rippleguys At 3:57, it says on screen that Cache goes to the Desktop, and that's what I did. So do I just delete the render files? The cache folder is still on my desktop, lol!
Best ever! Thanks
Thanks! Great tips!
Brilliant tips. I would have paid RT $20 for this as a webinar.
Mark, thanks for the turn on/off "make opt media for all multicam clips". I've been redundantly making opt media for my opt media for a long time. No more, thanks to you.
Great video! Do you have any suggestions for a DVD Studio Pro replacement? I need more than the default dvd burning options in FCP. Thanks!
I'm sorry I don't, I haven't had to deliver DVDs for many years!
@@markspencer1203 Thank you for the reply. Keep up the good work.
If you rent Adobe Creative Cloud, they will let you download Adobe Encore CS6. It's no longer updated sadly, but it should work even in Catalina. You can do DVDs and Blu-rays. It does them both very well.
Game Sack I’ll check it out. Thanks!
How can I do this without lag, I try to do 3 streams of 1080p on optimized codec. Still got dropping fps warning
Question: If ProRes LT is visually identical to regular non-LT ProRes at a much lower data rate, why does regular non-LT ProRes exist? Are you basing that statement on actual data?
I'm basing on my observation. Keener eyes may well discern a difference and full ProRes (or 444) will hold up better to grading, keying, etc. but this show requires very little manipulation of the original pixels so PRLT is perfect.
@@markspencer1203 Fair enough!
Thanks
What did the camera operators use to capture ProRes LT onto?
KiPro decks shown near the start of the video - this year we used SSD cartridges for the first time which sped up our transfer process.
you r Great editer
How do I delete a Multicam clip? Every time I try to, it says they are "in use"
You need to locate which projects in your library that contain that specific multicam clip and delete either the project or the mc clip within the project before you can delete it.
@@rippleguys MAN, YOU ARE A LIFE SAVER! SUBSCRIBED
Like ➕198👍🏻👏🏻
Interlacing? 17:26
Interlacing??
@@rippleguys At 17:26 it looks like the video is interlaced and hasn't been deinterlaced. I didn't think anything was shot interlaced these days.
Yes those cameras shoot interlaced by default - they were supposed to switch to progressive this year but there was a technical issue that prevented them from doing that so we had to deal with interlaced footage - crazy, huh?
@@markspencer1203 I'm always surprised when I see interlaced footage anywhere these days.