Combine GoPro Clips (Chapters) into one clip

[JohnnyAir]

I created a GoPro vid which was filmed continuously for 40 minutes.  With the 4K settings that I was using GoPro split the 'clip' into 10 individuals clips which GoPro calls chapters.

I have another camera that also filmed the same scene for 40 continous minutes and that is just one clip. I have a recorder that recorded the audio for 40 continuous minutes.

When I try to sync the 10 GoPro clips with the other video and audio via 'Create multi-camera source sequence', premiere pro treats the 10 GoPro clips as 10 different cameras.

The 4K setting that I used for the GoPro filming was 25fps, High Bitrate, GoPro Color, Medium Sharpness.  I created a sequence by adding the 10 clips to the timeline with their original settings and exporting as H264 - Match Source Adaptive High Bitrate.  Is this the best way to manage this issue?

[Graeme Bull]

Yes, that is the best way to manage it as you need the file to be one file. GoPro makes files not because they are chapters but because they exceed a particular file size and it rolls into the next file. Totally normal.

[JohnnyAir]

OK thank you.  Is exporting as 'H264 - Match Source Adaptive High Bitrate' the best export setting?

[Ann Bens · Accepted solution]

I would use Prores HQ 422.

[JohnnyAir]

I don't have that one.  Can it be imported into Premiere Pro 2022 on a PC or Apple only?

[Jeff Bellune · Accepted solution]

It's available under the QuickTime format in your export settings. It's a visually lossless codec that behaves well in Pr.

[Graeme Bull]

When you look under "more presets" it's called: Apple ProRes 422 HQ

[JohnnyAir]

Great.  These are my 422 HQ options:

Which one do you suggest?

[Graeme Bull · Accepted solution]

the second one

[JohnnyAir]

thanks guys.

[JohnnyAir]

One final question if I may.  Apart from my specific requirement on this occasion, to replicate as closely as possible the files out of the GoPro, what are the typical use cases for exporting with Apple ProRes 422HQ.

[Warren Heaton · Accepted solution]

This white paper provides detailed information about Apple ProRes:
Apple ProRes

While this article is about RED workflows with Final Cut Pro, a table on page 12 provides of consicse description of when ot use ProRes 4444, ProRes 422 HQ, ProRes 422, or ProRes 422 LT: 

RED Workflows with Final Cut Pro (apple.com)

Since you're looking to turn multiple clips into one clip (ProRes or otherwise), you might be interested in "Stitching clips" in Adobe Media Encoder.  Encode and export video and audio with Media Encoder (adobe.com)  Scroll down to "Stitching clips".  It's much faster than starting a Premeire Pro project and using a Sequence to do the same thing.

[JohnnyAir]

That is definitely the solution if output quality is up there.  Thanks Warren.  Awesome.

[smrpix]

Unless I'm missing something, you seem to be driving around the block to get next door.

Make a sequence out of your spanned GoPro clips, Select all the clips in the sequence, right-click, select nest, give it a name.  Then use that nested sequence as a source in your multicam.

[JohnnyAir]

I've discovered that I like the Media Encoder when there is a mix of file numbering on the GoPro card.  By that I mean a sequence of clips (chapters) created by GoPro like GH10263, GH20263, GH30263 etc combined with files created when you start and stop recording within the GoPro memory limit as in GH10264, GH10265 etc.

So, I use the Media Encoder to stitch chapters together before creating a Premiere Pro timeline sequence.  For me, it makes it easier to drag files into the timeline in chronological order.