Multicam missing angles

[lloyd_pdx]

This is a discussion AND a bug. I'm mid-project. First multicam project. Trying to salvage hours of work, but not sure how.  Lost two of my three camera angles AFTER editing my multicam timeline. The edits are present, as are the angles IN THOSE EDITS, but in multicam view there's now only one angle visible. And in the multicam source view, all angles are visible. (One track's source file is H264, the others now missing are transcoded to ProRes 422.) I "learned" a lot about this apparent problem from ChatGPT, and some of what NOT to do next time regarding LUTs and FX, but it would help to hear about your actual successful fixes. To clarify- these clips still need input LUTs and Lumetri adjustments, so that's confusing too, since that seems to be part of the problem. I'm on 24.6 on an M1 Max studio, but dare not upgrade to 25.3 until I'm done with this project.

Thank you.

I'd really rather not have to learn Resolve in order to do multicam.

[Carlos Ziade]

very smart idea not to update before finishing your current project.

can you tell us more about your workflow? are you editing on external drives?

do backups of everything then try to move all files locally, does this make any difference?

check scratch disks locations, media cache etc...

[lloyd_pdx]

Thanks, Carlos, both of Paul's suggestions were relevant so the problem has been resolved simply.

[PaulMurphy · Accepted solution]

When you say "one angle visible," do you mean:

• Only one angle fills the screen, even though you have multiple angles in your multicam sequence?
• Or do you see multiple angles, but most of them appear empty?

If it's the first case, the issue is often related to track targeting. Make sure that the track containing your multicam sequence is the only one targeted. You can test this by disabling all other track targets except the one with the multicam sequence.

If it's the second case, it’s likely caused by toggling clip visibility within the multicam source sequence. A common fix is simply restarting Premiere Pro—this often resolves the issue.

Side note: I wouldn't recommend relying on large language models (LLMs) for issues like this. They're prone to hallucinations and often prioritize sounding confident over being accurate.

[lloyd_pdx]

Paul, thank you for pointing out the simplicity of the possible solutions. I had, in fact, been toggling visibility as part of my editing, and targeting was off as well. Restarting Premiere brought back all images to multicam view.

And I think this has cured me of my over-consulting of LLMs. 

[lloyd_pdx]

Regarding hallucinations, GPT's suggestion was to NOT apply an input LUT or Lumetri fx to the clip itself, but to an adjustment layer to "prevent" this problem. Seems goofy now, but is there any truth to it, relative to multicam? 

[R Neil Haugen]

Input LUTs are entirely workable ... although, if they have a tonemapping algorithm for your media, like they do with most log forms now, I would highly recommend that over a LUT based normalization. The look would be slightly different than any LUT, as with say between LUTs ... but LUTs can clip/crush, while the tonemapping via algorithms will not.

Tonemapping algos are a vastlly superior form of normalization. Compared to the look-up table chart, with is all a LUT is.

So auto detect log, auto tonemapping both on, and most log media is normalized decently for either Rec.709 or HLG or often PQ workflows. With appropriate color management options selected through the sequence and export presets.

All CM is now in the Lumetri panel Settings tab ... the tab named Settings.

[lloyd_pdx]

wow, I didn't know about tonemapping and the other color management options now available in Lumetri. I will look into them for my next project. Thanks, Neil.

[R Neil Haugen]

If you have any questions, make a new post and ask away. This is such a massive change that for many users it certainly is confusing at first.

[PaulMurphy]

This is a good example of why LLMs aren’t great at this kind of troubleshooting—the assessment here is complete fiction. I’ve used Input LUTs with multicam sequences for years without issue. The idea that you’d need to apply them via an adjustment layer instead feels both absurd and inefficient.

[R Neil Haugen]

What's an LLM? No clue. 

If your field media and the LUTs used for it are totally compatible, it is absolutely fine.

But as someone who's spent a ton of time around colorists , they don't prefer to bet on it. 

Unless they know the DP is rock solid.

So I help a ton of people trying to get not quite perfect media out the door as easily as possible.

I don't even have a clue how often I've had to help someone get a better handle on when and where to use LUTs for the clips they are given to work on.

The stuff I shoot? Shouldn't ever be an issue. But then , I use a light meter I know how to setup per each camera, a color meter, and check the zebra and false color on the field monitor every shot.

People shooting weddings and real estate don't always work so righteously. And if the media you have isn't solid, input LUTs can be a nightmare if the clips aren't trimmed properly.

I'm simply a practical guy. A ton of media in use isn't as technically well produced as "we" would like. 

[John Hepworth]

there's spookiness around multicam...

I can see all the edits in the program monitor in multicam view.

I cam *sometimes* see all the angles as I cut between them...sometimes not.

restarting seems to have fixed it BUT I feel deeply gaslit by premiere on this one...

[R Neil Haugen]

Sorry about that, as another user of course.

The multicam process in Premiere is rather ... well, capable of different things, depending on say whether you drag a multicam sequence to a timeline or right-click "open" in timeline and ... other seemingly minor things, that Premiere "reads" as the user wanting to do X.

But if you don't know that doing it this way is very different from that way, it's nearly impossible to figure out what the hay is going on.

It is totally useful to be able to do the different ways that Premiere handles multicams, for different circumstances and needs. But at the same time, it it totally baffling unless you really, really get a handle on how it works.

@Jarle Leirpoll has some on this on his blog, premierepro.net, and in his book, "The Cool Stuff in Premiere Pro", a 1200 page tome on every section of Premiere and how to get it to work as you need and go faster through the editing process. He also pops in here occasionally and is awesome at multicam help.

@Warren Heaton and @PaulMurphy are also very helpful there.

[John Hepworth]

Thanks.  Yeah, I often/always find myself trying to drill down to figure out if it's ACTUALLY a feature, disguised as a bug, or just a bug.

Even with the bugs, they're *fine* as long as you know they're either insurmountable or there's some workaround.

Like the fact that so much of computing/electronics has basically 'wiggle the switch' as the first step in any troubleshooting.

So, yeah.  Restarting it and it worked fine...and then bookmarking this thread in case I run into the same thing 90 minutes to 90 days from now when I've 'forgotten' just to restart it...