Will MERGE CLIP Create a Problem For The Colorist Later?

[BuckEstes]

Will using Merge Clip create problems for the colorist later?

I ask because when you merge clip you basically create a new clip with a new file name, right? 

[R Neil Haugen]

Merged clips are at times a bit of a problem child the way PrPro does them. Which is why noted production expert Jarle Leirpoll always suggests making a multicam instead. You can say have a bin with 10 clips of video w/camera audio, and eight of them have separate audio recordings in the bin. PrPro will make a new multicam sequence for each pairing.

And then you can flatten that as a 'simple' clip. This can still have some implications between audio & such though.

Neil

[Phillip Harvey]

Definitely for an audio engineer. Probably for a colorist as well, yes, unless you're supplying a baked out sequence. But anything where you export an XML or work outside of Premiere you don't want to use a Premiere-proprietary type of thing.

[Kevin-Monahan]

Buck,

Avoid the feature if you are collaborating at all. Use multicamera sequences instead. Weird, but it works.

Regards,
Kevin

[PJPJr10]

Has anyone run into the issue of using Multicam to sync a day's worth of footage with audio files (in our case, coming from our Zoom H6), and had PP put every take into one Multicam sequence with just one sound file, instead of separating them out 1-for-1? I had it work the way it was supposed to with footage submittted from one DP, and it sync'd a bin with about 40+ takes with the correct 40+ audio files. But the ones we shot using our H6 for sound, are doing a very weird merge - and taking all of one cam angle (i.e. CU's take 1-10), and making it one Multicam sequence with only 1 linked audio file (usually from take 1). This is giving us fairly useless sequence, because every take of an actor is slightly different, and I need to cut this episodic with the best moments, not edit it like a live shoot that cuts between different cameras. Our H6 was set to record as "Tr1" and each sound file is a 96000 Hz 24 bit. I noticed the other DP's sound is 44100 Hz 16 bit. And not that this should matter, but her sound files are lower case .wav, but the zoom files are upper case .WAV

I'm grasping at straws. We have a week's worth of heavy shooting with hundreds of takes that need to be sync'd. I'll never get this project moving forward if I have to manually sync each one in the timeline. Speaking of: when I do manually sync in the timeline, PP audio sync works perfectly. So in the timeline, it can manage to match up the waveforms accurately. 

The only other thing I can think of is that all of our video files have been custom named prior to being pulled into PP, so that the various editors who work on it know what that take actually is (i.e. a character named John when shooting a CU for Ep 1, Sc 2 would be named something like Ep1_Sc2_John_Cu_1; CU_2; CU_3, etc. But that naming was all done on the OS level prior to ingesting into PP. The sound files are all labeled with the original Zoom H6 naming scheme (ZOOM0001_Tr1.WAV, etc.)

I'm ripping my hair out on this one - I can't seem to find anyone online that has had even a remotely similar occurrence, and I spent 12-14 hours yesterday scouring the internet and youtube comments looking for SOME occurrence that would give me some answers. Thanks all!

[R Neil Haugen]

Wow, that is ... bizarre.

I read and reread and reread ... and can't think of what else to try. Other than putting each pair of clip/audio in a separate bin and make them one by one.

Neil

[PJPJr10]

I finally did it somewhat manually. I separated each take out into its own bin and then attempted the Multicam sync. In some cases, it worked fine. In others, when it didn't work, I just did the Multicam sync one by one and it always sync'd the sound file perfectly with the scratch audio. Not sure of the culprit, but at least the PP process for Multicam is fairly quick and I got it all done in a few hours. Not as fast as I would have hoped, but it did allow me to actually get to work the next day!

[salvo34]

buck, a lot what you do with digital clips is try to have flow from camera to computer that is sensible and fast.

You can probably use lumetri color stuff to do what I do with resolve...

1) adjust lift gamma gain

2) if raw set the color spaces right in timeline

edit.

You have to adjust simple stuff ( levels ) just to get going.

most of time proxy stuff helps for my wimpy pig computer.

good luck