Need pointers for first time editing with two tapes

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    • #46706

      I am a long time video editor using Pinnacle Studio and Adobe Premiere Elements however, I have NEVER had any experience with the following and would like some pointers as to how I go about getting a quality product.

      We just had an anniversary party for a relative. I filmed alot of the event. My brother also filmed a lot of the event on a separate camcorder.

      Now I have (2) tapes – mine and my brothers and I need to put them together to make one movie. In particular, there was a speech. I filmed the speaker and my brother filmed the guest reactions to the speech. What is the easiest way to edit the video so that I can transition from the speaker to the reaction shots and vice versa?

      Any other tips for editing in this situation would be GREATLY appreciated as well.

      I hope the above is even possible in Premiere Elements and/or Studio. <fingers crossed>

      Thanks in advance!

    • #192351

      Pinnacle studio, I think is about as good as Windows movie maker. One timeline and not much functionality. Crashes constantly

      Studio Plus has either 2 or 3 timelines. WIth that, You just stack the videosl and delete the audio track you like better and just line up the video so the sound matches the video.

      Either way, Pinnacle (anything) sucks.

      I think you should learn Adobe Premier. It is easy to use and alot more functional than Pinnacle. And more importantly won’t crash every couple minutes.

    • #192352

      I would also recommend that you use Adobe PE – it’s light years better than Pinnacle (learned by experience). I would suggest that you use straight cuts – not fades, etc. I would also recommend that you browse other video professional’s websites & watch their demos. It’s a great way to see what others are doing & decide what you like & don’t like for your own editing. For example, I’ve seen pix-in-pix done in a very professional manner, which is another option for your two-camera edit.

      Above all, edit the video & watch it. If you don’t like it, your client probably won’t either. Play with it & have fun!

    • #192353

      I have to agree with the previous 2 posters that Pinnacle sucks. Having said that, you have to get this out. If your 2 cameras are not the same, then there is a high probablity that the colors are not calibrated and it will be very noticble that they were shot with different cameras. What I would do if I were you, and thank the Gods I am not, I would use the lesser camera shots in some special effects mode such as sepia or something that would be so different that if would look like it was intentional. As far as your cuts…fade or whatever, just try different variations until you get something that you can be happy with. I know that you can figure this out because as videographers we are a different breed and we are extremely resoucefull. I have faith in you, brother (or sister – I’m thinking brother). These type of problems and solutions are a rite of passage and I know you will make a great production. Let us know what you do. We are all students and learn from each other – regardless of our expertise.


    • #192354

      I agree with Member above brandon0409 and FallingStarFilms.. both good advice … Stack the Video Layers & cut out the dodgy bits between cameras and mark great shots of each camera when digitizing .. Hopefully your filming was continuous on both cameras (Speeches etc) if not its a long nights edit trying to sync both cameras up at key points & try to color correct both cameras as best you can to match each other… yeah and Learn Prem Pro or Avid for a better editing system … Good Luck Mate .. and its all a learning process so have fun …

    • #192355

      I am a studio user and have not had the crash problems that everyone else seems to have that causes Pinnacle to “suck”

      Forgive my ignorance, I haven’t had to look at another program cause Studio works fine for me, but aren’t you comparing a $100 program with an $800 program??

      I did a two camera edit on studio 9. It was shot on two different cameras. JVC (combo CCD Chip and Panasonic 3CCD Chip. The image quality was like chalk and cheese. The Audio quality was better on the Panasonc so I just muted the audio on the Jvc footage. It took a litle bit of adjustment to sync the video to the audio between the cameras, but once done it was smooth sailing from there. I adjusted the image colour saturation on the JVC footage, but the image clarity was far superiou on the Panasonic. We didn’t care, the footage was memories for friends and they were over the moon. Now if I was producing the DVD for financial gain – then thats a different thig altogether and I would have two identical cameras.

      Have fun, experiment – its not hard to do

    • #192356

      but aren’t you comparing a $100 program with an $800 program?? I did a two camera edit on studio 9.

      No we are not comparing two different price ranges. Adobe Premeire Elements ranges from $80-$100. Final Cut Express is same prie range as is Sony Vegas’s consumer software. And I beleive that Pinnacle Plus is in the same range although the others are far more advanced.

    • #192357

      I use Vegas Pro 8, it’s pretty easy to do mulitcam editing with it’s multicam editor. You can color correct the video sources at the project level and edit up to 32 different cameras at one time. It’s as easy as selecting the tracks, creating a multicam track (this combines all the selected tracks to one track) and simply click the desired camera in the preview window and a cut is made, or if you want a cross fade, hold the ctrl key and click the camera to switch to and it’s done. Each event is added as a take you can select through multiple takes to get the desired shot. Really good if you didn’t like the result of that particular edit. Simply go back, play through the edit and select a different shot.


    • #192358

      i worked mainly on Avid but the editing is quite different when you have different sources for sound. We used to cheat when we had more than one source, because our spare mic allowed us to record three tracks (out of four possible). That means, in a crowd, that both cameras film the improvised action with ambiance while you have one mic going for the speech. So you do get a “main camera” and a 2nd camera, and that distinction makes it easier to edit.

    • #192359

      “No we are not comparing two different price ranges.Adobe Premeire Elements ranges from $80-$100. Final Cut Express is same price range as is Sony Vegas’s consumer software. And I believe that Pinnacle Plus is in the same range although the others are far more advanced”.

      Hmmmmm, we are getting our wires crossed????. Sony Vegas Pro 8 and Adobe Premier Pro and Final cut Pro are NOT, well at least in Australia, $80-100 programs. For the want of a better phrase, the element versions are. However most of you are telling us the professional version names. Have a closer read and you’ll see what i mean. That aside, I thank you for your input and remarks

      Now it looks like I have had my head in the sand. I always thought that the “light” version of the “Pro” programs were more expensive ($200-300) than what you have listed here. I have had great success with Studio 9 and didn’t have the need to search for something else, so I just naturally went with Studio 11. If these other progams are more advanced and around the same $ as Studio, then I think it might be time for this little black duck to try another program, even if it is for curiosity sake.

    • #192360

      I’m not so sure anyone actually answered your queries. So rather than do the insane thing and argue about NLE’s with people who seem to know little about either your problem or just production in general. I did see an individual mention there is only a single video track in your preffered NLE. And is that really accurate? The only NLE’s I’ve encountered with just a single video track come installed with the Operating System. So I’d like to assume thatPinnacle Studio does in fact have at least 2 tracks for video & audio on your timeline.

      When you are logging your footage (also known as a careful viewing with a note pad) be especially vigilant at locating any time either camcorder is stopped & started. Obviously you can only synch up video when they were both recording. But also examine the footage with an eye to which camera has the majority of “keepers” during any time both camcorders were recording. Later we’ll call this the “master shot” or our base video track. After logging the tapes, maybe with your brother (and you may want to watch the video 2 or 3 times to become familiar with it,) You can take them & your notes into the edit suite.

      Once you’re in your suite, you first should set your NLE timeline to display audio as a waveform. The first editing task is put our 1st base track segment on the lowest level of our NLE timeline. Now you drop the camera with slightly fewer keepers on the video track right above our first video track. (See why I called the “master shot” the BASE?) It is very unlikely you & your bro started your cameras at even close to the same instant. The first step in synching the two tracks is to locate the same phrase/word on each of the tracks (it works just as well with as many tracks as you’d care to record. I’m generally shooting with three camcorders.) Then you just drag video/audio tracks so the words start at nearly the same time. You can test the accuracy of your guess by playing back the timeline and listening for either an echo or a noticeable delay. The shorter the echo, the closer you are to perfect synch. If you’re off by less than a second (a strong echo in playback) or delayed by a second or two. To make this task easier, you can also place a vertical marker of some sort right at the start of a word. Just look at the waveform audio for the flattest spot before the talking begins and place the marker (or you can write down the exact frame you want to use.) Now look for the same waveform pattern in the other audio track, or play it back and stop just before they speak (it’s easy with only a little practice.) Put you cursor on that spot on the audio track and slide it until the cursor is near the marker. Play the timeline again, listening for the echo. Once you have the echo effect, you are within frames of perfect synch, expand your timeline view to less than 10 seconds from end to end. (It’s nice to do this with the marker in the center, rather than expanding and then searching for the marker.) At this level, you should see enough detail in the waveforms of the audio tracks to easily grab one & just slide it till the patterns match. I generally find it easiest to do this in stages, first get close enough you get the sound like a “Japanese movie” then expand the time line to the 10 seconds or so. Visually match the waveforms and test the synch, sometimes I expand to less than 3 seconds across the timeline. It is much harder to match the waveforms when they are recording different noises with the matching voices. That’s when I move in tight on clunks and bangs both camcorders recorded. (And by the way. I did match-cut editing when all we had was linear analogue to work with.)

      If you’re unable to to use the easiest method, visual audio synching, then you can do the same by trial-and-error. What you need to do is eliminate the echo effect we hear when the same sound is repeated less than a second later. You slowly work your way to get the echo and just continue moving one track a few frames one way or the other. Did the echo increase or decrease? Move it the same way a few frames if it decreased. Or if it increased, perform an Undo and move a few frames the opposite direction. (Don’t despair, I taught dozens of senior citizens how to do this on those old analogue tape decks. All totally by the listening method of match-cut synching.)

      Once your first segment of match cut editing is in synch, you’re ready to start editing. Here’s where the notes come in in handy. As you start previewing your timeline, you have some idea of which camera has a good shot coming up and which camera would be better hidden shortly. With the two videos atop each other, it is a simple matter to split & trim your way along the timeline. Here’s how it works in practice. Let’s assume the base shot was started before the other shot. So we start our preview and at the point the other camera started the preview cuts to it. Generally speaking, you won’t want to switch right away. You want to establish the mood and determine what sort of edit pacing you need. But at some point, we want to switch away from the base shot. Previewing the video we begin watching the shot we don’t want (covering the shot we do want) until a time comes when you wan to switch shots. Position the cursor at the transition point and trim the upper video track so it starts at the cursor. (Please be aware of what this does to your audio track. Ideally, you can trim & split just the video track by adjusting defaults or menu selections.) If you don’t like cuts between the shots, I’ve found a 20 frame dissolve gives a nice sense of transition. Once you have fine-tuned the placement of the transition, we start previewing again. This time we are watching the shot we want to keep, until we don’t want to keep in any longer. Then we stop & place the cursor at the spot we want to transition back to the base shot. This time we split the video track. (I like to trim the video coming up (on the right side of the cursor) a few seconds so I can fine tune the transition placement.) And review from the last edit (or more) to make sure things are actually going like i think they are going. And during one of the previews I’m happy and just continue beyond the edit and suddenly the other shot cuts in (before I need it to cut in) and I’m back to watching for the next time I want to use the video track I’m previewing. And we trim the left side of our edit and split the video on the right side of the edit. Over & over & over & over, until it’s done. If you’re working with three camcorders, I recommend working on one track at a time, then using another pass to work out problems when several or no camcorders had good shots. By the way this works the same if drop the 2nd camcorder video on top of the base shot, if your NLE allows that. Then you can conserve video tracks for title & graphic effects.

      I think you’ll find this the easiest method match-cut editing. By the way, don’t even think you can synch tapes using visual clues. If you know in advance, your could have someone stand in front of both camcorders, zoom then in and have your helper clap their hands above their head. But even this trick only puts you into the “echo range.” In synching two AV tracks, your viewers will not be able to identify lack of lip synch of several frames when hearing only one audio track. And even you’ll have a hard time doing it solely with visual clues. So don’t even try it, okay?

      Next topic, matching the images. Friends & family are the most forgiving of all production quirks. So you can just use the video as it was captured. But we both know that friends & family want to see each other in normal color, but if you want to do adjustments, stick to the four qualities of a video signal (brightness, contrast, hue & saturation) to make cuts a bit less jarring (if they are) Or you can use my trick of dissolving through small differences (you know the 20 frame dissolve.) And by the way, in that speech you spoke about. If you have the speakers covered & your brother just shot the audience reactions, you don’t actually need to have the camcorders synched for editing in your brother’s best shots. But let me warn you that most people remember the event well enough that they will recognize the CU’s are not appearing when they actually happened. But if you’re a second one way or the other, it generally won’t matter since neither shot shares elements. But if at some point during the speech, the speaker talked about a person in the audience & your brother has good coverage of his reactions, but you want to get a sense of interaction without inter-cutting, the picture-in-picture effect works nicely. Otherwise, I’m not much of a fan of bells & whistles in family videos. People want to see as much as you’ve got, condensed for easy viewing.

      So I hope I gave you an idea of how to construct your workflow for your match-cut editing situation. Just remember, the biggest mistake by beginners in match-cut editing is trying to synch by visual clues. It’s a quick way to get close, but it takes audio to make the match. Unless one camcorder is, like, a city block away from the other so it takes different lengths of time for the sound to arrive at each camcorder. That seldom occurs indoors, especially in a place people live.

      Have fun with the post. Hope it turns out better than your brother expected.

    • #192361

      In answer to multi-camera editing in Pinnacle Studio 12, here is an article that we just wrote for our website, I do not understand all the flaming against Studio 12. If you run it on a good computer, it works excellently. Professionally, I use Liquid and Media Composer, but I have to admit that I am really impressed by Studio 12 Ultimate (which we nicknamed as Liquid Light) since it borrows a lot of features. For $130, you cannot beat it. And then, when you are ready, you can upgrade to Liquid for only $300.

      How to perform a multi-camera (two camera) edit in Pinnacle Studio 12

      by Fred Ginsburg,

      Even though we normally build editing systems to utilize Avid Liquid or Avid Media Composer, we have been more than impressed by the capabilities of Pinnacle Studio 12 Ultimate.

      For an inexpensive little program, the folks at Pinnacle (a division of Avid) really pack a lot of features into this video editing package.

      However, one of the features not covered in the Studio manual is multi-camera editing. If you covered an event with more than one camcorder shooting simultaneously, then how do you go about lining up the footage in sync and cutting between them?

      Higher end programs, such as Avid Liquid, Media Composer, FCP, and others are able to deal with multiple cameras no problem; but that is why those programs are considered the favorites of professional editors. Also, those programs cost a lot more, require a good deal of training, and require very powerful computers.

      Pinnacle Studio 12, on the other hand, is good for the less experienced video editor whose projects do not require the sophistication of those advanced programs. We like the program so much that, at, we include it as basic software on all of our professional laptop computer systems. It is ideal for smaller scale projects including event videography, industrial/corporate, DVD’s, slide shows, and web media. Yes, it will handle HDV.

      Which brings us back to the two camera live shoot. Can it be successfully edited in Pinnacle Studio 12? That is what we set out to discover….

      Step One. Make sure that the Video Overlay track is enabled. Do that by going to the Toolbox and selecting: Add Video Overlay.

      Step Two. Select your Master Shot (camera A) and drag it down to the timeline.

      Note: if your two-camera edit is going to be part of a much larger show, I would recommend that you open up a NEW PROJECT and build your sequence on its own. When you are finished, export the (two camera)edited sequence (Studio calls it Make A Movie) and save it as an AVI video file. Import that file into your original project. By doing it this way, you also have the option to trim or split the clip (your two-camera sequence) as much as you want, without fear of losing sync.

      Scroll through the Master Shot until you locate what will serve as a common sync point for both cameras. This could be an official clapstick slate, or just a specific frame of an action visible to both cameras, such as a kiss, flashbulb, handslap, etc.

      Add a Marker at that frame and label it as Sync Point (or whatever).

      To make it even easier to align on that frame, since the Marker symbol appears at the top of the timeline, you will use the RAZOR tool to make a slice at that frame. The slice does not remove any frames (no loss of sync) but it does leave a very visible vertical line in the timeline.

      Drag the Insert Footage (camera B) down to the Overlay track just underneath the Master shot. When you play through the timeline, the video will automatically default to the footage on the Overlay track rather than show the Master track.

      Locate the common sync point of the Insert track (camera B) and place a Marker at that point, and give it a label. You do not need to add a Razor slice to the Overlay track, since the Marker symbol is at the top of the timeline and will be easy to align with the vertical line (slice) in the track above it (the Master track). Slide the video clip on the Overlay track until the two sync marks are opposite each other.

      If you wish, you can trim the beginning of either video track as much as you want by grabbing the left edge of the clip and pulling it to the right. Note that the sync markers should remain aligned. If the track slides by mistake, just hit the UNDO symbol.

      If you are afraid of accidently messing up the two tracks, then do a SAVE PROJECT AS and name the newly saved file with a new version number. For example, save “JG_wedding_v01” as “JG_wedding_v02”. That way, you can always go back to the other saved version. Saving your project as different versions every time you make a major change is a good way to protect yourself against big-time blunders that the UNDO button might not rescue.

      There are a couple ways we can view both cameras in order to select the cut points. One simple technique is just to click on the “eye” symbol (oval with a circle in it) located at the right border of the Overlay timeline. When you click on the eye, it will disable the overlay function and reveal only the main video track (the Master track). Clicking on the eye again will re-enable the Overlay, and reveal whatever video is on the lower timeline track.

      Now for the cool part. Let’s enable Pinnacle Studio to show us both camera feeds at the same time on the source monitor. Highlight the video clip on the Overlay track (camera B). Select the Picture Tools icon (the camera icon next to the speaker icon, located near the left of your monitor screen just above the timelines).

      Once in the Picture Tools menu, select the Picture-In-Picture tool. You should see the Overlay track (camera B) inserted into the corner of the PIP editor frame. Click the small box to ENABLE Picture in Picture. Now you should see the Overlay track AND the main video track. You can use the mouse grabber to move the inserted picture to wherever in the frame you desire, so that it does not block important content. You can also drag the corners to adjust size.

      Scroll or play through the timeline until you come to the first place you want to change cameras. Place a Marker on the main track (camera A) and label it. Highlight the Overlay track, and place a Marker on it at the same spot, and label it to match. Then use the Razor tool to slice the Overlay track at that frame.

      Scroll or play to the next edit point, and repeat the procedure described above: Place a Marker on the main track (camera A). Highlight the Overlay track, and place a Marker on it at the same spot. Then use the Razor tool to slice the Overlay track at that frame.

      Continue this process of marking and razor slicing at all of the cut or transition points along the timeline.

      Highlight and DELETE those sections of the Overlay track (camera B) that you do NOT want to appear in the sequence. The remaining clips will remain in their relative positions on the Overlay track, which you can quickly verify by checking to see that the left edges of the Overlay clips line up with the markers above them on the Master track.

      Now, to remove the Picture-in-Picture feature. Just highlight ALL of the clips on the Overlay track (control+click on each clip), and then just uncheck the box that enables Picture-In-Picture in the editor window.

      When you play the timeline, the picture will cut between the Master track and the Overlay track.

      You can drag transitions down to the Overlay track if you want dissolves or whatever at the in or out points of those clips.

      If you do not want the audio to switch between the Master video track and the Overlay track, you can delete the audio portions of the Overlay clips. To do that, first LOCK the Overlay video by clicking on the lock icon (next to the eye). Then, highlight just the audio track underneath the Overlay video and delete it.

      As an alternative way of adjusting the audio levels, you can use the standard audio mixer tool; or just drag the audio level bar down, inside the timeline down using your mouse.

    • #192362

      Good advice. I’ve done just that before. Two camera edits are still hard to sync the footage. You have to look that unique sync point mention above. I vowed to never do it again using Pinnacle unless I’m paid too. haha

      Also, you can drag your video footage to the Audio track for all the audio sound. This way, you can disable the sound on the video track and overlay track. Especially if the overlay track, camera 2, has the better sound.

    • #192363

      “…And by the way, in that speech you spoke about. If you have the speakers covered & your brother just shot the audience reactions, you don’t actually need to have the camcorders synched for editing in your brother’s best shots…” – BM

      Also, Fred Ginsberg was kind to provide such an informative article and post.

      Essentially, what Barefoot Media said above holds the key, and while the person actually depicted in the cutaway (reaction shots insertions) might remember that he/she laughed, cried or picked their nose at a different time, nobody else will. So, if like BM said, you do not have to worry about syncing to the lips of the speaker(s) between two or more cameras, then laying your main camera of the speakers down as your audio and primary video track, then inserting appropriate cutaways (shots that go along with what is being said – sad, funny, etc.) should be a piece of cake.

      Also, as has been mentioned, if your production is informal for family/friends, and not commercial, then if the color isn’t off the charts, it will not matter as much, especially if the primary base video is consistent. If blues and browns on your camera footage look red and orange on your brothers, then you need to focus on some kind of color correction and/or (again, as BM pointed out) a treatment that makes the change less noticeable, or maybe more forgiving – converting the inserts to black and white, for example.

    • #192364

      I currently use Pinnacle Studio 12 Ultimate. The only version I had any trouble with was V10. Since then, no troubles.

      I recommend stacking the videos and muting the sound from the bottom track once they are synced up. I have done this before and never had any trouble.

      I am not sure why some dislike Pinnacle. Outside of v10, I have had very few problems and have produced everything from TV commercials, sports highlight videos, weddings, memory videos, etc. I would like to see more tracks, but that is my only issue. As long as you have a good computer that will handle the requirements, it works great.

    • #192365

      I agree with you. I really like Pinnacle buthave had minor problems everyone complains about. The only main issue now is with the menu quality in version 12, and I too would like to have more video tracks. But I think the program is great and certainly easy to use.

      I have downloaded the trail version of Sony Vegas and it shows promise. Not as intuiative of a transition as I thought it was going to be from Pinnacle. But it does give you I believe 4 video tracks. I am also taking a stab at Avid Liquid. That is an even harder transition. I assumed this program would have been Pinnacle Studio on steriods. It looks completely different from Pinnacle and even more difficult than Vegas.

      And I consider myself an advanced user of Pinnacle.

    • #192366

      I consider myself very versed in Pinnacle, having used it since V8. I have done the multicam editing, but haven’t used more than 2 cameras to be edited. I planned on having 3 at a wedding, but it was an outdoor wedding and the one unmanned camera had the sun drop down to a bad position and the angle was unusable. The 2 manned cameras worked very well and I was able to edit them in Pinnacle V11 with no problem. Since they were both MiniDV, I used a clapper just after both cameras were turned on and left them on. Once I synched the clap, no problem. Just used the sound from the camera closest to the action and even with the wind, it didn’t turn out too bad. The bride, groom and very unpleasant sister of the bride were very pleased with the results.

      I also did a school play with 2 angles. Same thing. Stacked them in Pinnacle, synched up the clapper and no problem.

    • #192367

      Hi Realdeal, editing with two cameras is easier than you might think. After importing all of your footage, drop all the raw footage from camera oneon the timeline. Then drag your clips from cam 2 onto the overlay track. The next step could take a while. You now want to sync your audio between the two cameras. You’ll have to move the clips around until you get the audio synced up. Use which ever cam has the best audio, and mute the other. Now just go through the timeline and delete certain clips ( if the clip you want visible is on the main track, you would delete a clip from the overlay track so that track one is what’s seen.) I hope this helps.

    • #192368

      Hello All,

      Having successfully completed many years of video production work on a hobby/part time basis, and having completed over 200 wedding video projects ,I would offer the following :

      My use of a single frame is very simular to Mr.Ginsburg”s of VideoEditSystems in an earlier post.

      For ease of solving multitrack video/sound sync problems, consider this:

      Have your assistants to watch for a predetermined cue from you on WHEN to start their assigned camera. I have found that wedding directors will readily give you a cue as to when the service will be getting underway. At that time , be sure all cam operators direct their shot towards a predetermined operator equipped with a “strobe flash unit ” from a 35mm camera.The assigned operator then produces a flash from the unit being visible to all cameras. when the raw footage is uploaded, use this single frame containing the flash for the video sync.The sound will be pretty much in sync as well.It is also very important, in my opinion, to use the same camera the tape was shot with for uploading, as the playback speed can vary in a one hour service enough to cause sync problems.That is to say, dont upload a tape with CAM 1 that was shot with CAM 2 .If it was shot with CAM 1 ,, upload it with CAM 1.

      For a long time,using Hi-8 CAMS, I mixed the service live with an on location video mixer equipped with color correction, and sound sources etc. I always ran a tape in a couple of the 4-7 cams in case of a problem with one of the master recording decks.The logistics was nightmarish and setup time from running cable etc was enormous when using a live mixing method however. Thus upon some trial and error experiences, I began using a tape in each cam when doing the shoot and the final mix, I run sound from each CAM to an audio mixer, with an unrecorded sound monitor with it’s output being fed to the line-in jack on the PC. The video output from each CAM is fed into the stand alone video mixer with the output from the mixer being fed to the video in on the capture card of the pc. In using this setup, the flip open monitor on each cam is also used in addition to a large video monitor for preview and recorded video signals.

      When the digital video cameras were introduced, I continued using this method of capture and doing a second or third capture of any digital cam footage. With all of the aforementioned methods, the flash from the strobe flash unit was used to assist in any needed sync.

      I should also state that when using the ” mix after the fact” method, all of my cameras are Sony, thus allowing to pause on the ‘strobe flash frame” and then with the push of one button on one remote, all are sent into play mode with the mix being output to the video capture card. Sure there will be restarts when doing this , but I have found that the pros far outweigh the cons, and making a very nice finished product for customers. I have also used variations of the above for productions of dancers, outdoor events , pageants and even dirt track racing.

      The final point I would make is one of the most important ones. If using a multi cam after the fact mix method, ONCE A CAM IS ROLLING , DO NOT STOP THE RECORDING , EVEN IF REPOSITIONING A CAMERA, eliminating the requirement of having to re-sync. The bad shots are simply avoided when doing the final mix.

      I have used the Pinnacle products for several years and currently use Pinnacle 11 using CoreI7 processor based pc’s without incident or issues. I used the strobe flash method even during the days of editing using S-VHS decks for several years, never once having to refund a customer’s money for failing to capture the event .

      Even living in a very rural area, I’m still in the part time business of making memories. If I could make my living doing video production in this area, that friends , is what Id be doing.

      I hope this will help someone in the learning stages of this business.

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