Sorry, haven't used an EDL in many years and never in PPr. Although one suggestion might be to find an app that does export more audio channels (avid/Resolve/reaper/?) and rinse through that. A neater option might be to rethink the workflow in a way that all the audio makes it to protools, even if not used in timeline. Mixer should then be able to 'expand regions', and see production tracks other than that used by editor. This is where OP-atom, where audio files are seperate to video, can be useful in Avid. ... View more

Another approach is to add a clip effect to the indivi clips in the multi-camera timeline sequence. (Right click on mc clip & 'open in timeline'. I prefer to export an xml to Resolve and use 'remote grading' (where clips from same reel are linked for grading). The tools are much more powerful and more intuitive, it limits to broadcast colour range - with nice tools to soften any clipping and you get to see an output as it renders (a bit like watching your grade on fast forward - which is a good check). There are some caveats (flatten multi-cam, check and fix speed changes on return to PPro) but it's probably faster for a whole sequence than grading in PP. ... View more

Avid DS had a 'ripple end' marker - you mark that at the out point of your selected clip then go and ripple delete the gap before it. I prefer the idea of butting left/right. adobe.com/go/wish Avid MC has the ability to enter timecodes on the sequence for source timecodes. E.g. I can view A2 source timecode and enter timecodes relevant to that track in the timeline directly. ... View more

Multi-cam has to read all streams from disk and decode them at once. Personally, rather than transcode all angles,  I put PIP on each camera to create a multi viewer (e.g. C1 top left etc), render that out as ProRes LT and import & add as the top camera. (Then remove the PIPs as you don't need them any more) I then edit with that 'camera' for editorial and cut cameras without switching program monitor multicam on. Faster snappier playback & view all angles. PIP-picture in picture ... View more

Set bin metadata display to show 'camera label'. Enter a unique ID for the different angles (e.g. 1,2,3,4 if you've 4) When creating multi-camera source sequence choose to sync by timecode, create single track per angle and group by camera label. Right click resulting multi-camera sequence and 'open in timeline' Adjust for any sync errors (much easier if timecode was free-running). Creating proxies is a separate issue. You can have PPRO create & manage or do it manually. Best keep frame size & rate matching. Multi-cam audio is powerful/tricky in PP. Difficult to advise without knowing number of source audio tracks. If just two mono mics (e.g. Interviewer/interviewer) then easiest for multi-camera source sequence to be stereo with mono timeline tracks (to avoid -3dB attenuation from standard tracks). if more than 2 mono sources then you may need to get into multichannel / adaptive tracks. Often easier to keep audio as normal clips & use multi-camera for video only. Hope that is of some help ... View more

www.adobe.com/go/wish - for feature requests ... View more

Thanks Jim But I assume the red/yellow bar does indicate a render will be required for export though (rather than just being a copy)? its also a good indication that clip is not at 'unity' - easier than the little fx icons on the clips (although they are v useful too). I often do jobs where I edit the last shot in during the commercial break before the sequence airs so I absolutely have to take the render hit early if I want to make air! In multicam interviews I pregrade the cameras in Resolve, but don't export - but use remote versions so the xml of the edit from PPro has the one ligh. Then just add versions where lighting changes - also starting to use Fusion for grot removal work. It's all a powerful set of tools for the £. Roundtripping is not too bad - I've been able to switch back and render an upgraded grade for single shots and they are replaced in the PP timeline. Living by the sword, I know... Thanks for the help Trevor ... View more

Thanks Jim Firstly my delivery is tight, so I have my 'previews' set to my delivery codec, render the timeline as I go and then 'use previews' as I export. (i.e. I'd rather pay the render hit as I go, than have that be an unknown quantity at the end). To that end the default MPEG previews are no use to me (my final deliverable is either ProRes in QuickTime or AVCI in OP1a MXF). Secondly, and I see you are active on the Resolve forums, so you may be able to help, I'm roundtripping via Resolve for the grade. I'm rendering the grade from Resolve, in my delivery codec, as an XML of individual clips for flexibility. Then open the resulting timeline & copy/paste onto my master timeline, under the graphics layers. Before the copy/paste I am trying to ensure that I'll minimise any PPro render time - and the easiest way to do that is to see no yellow bar on the xml timeline. Even after I set the delivery codec manually for the xml timeline, AND remove the opacity key frame and crop effect that Resolve adds to every clip (so fx icon is grey) - the yellow bar is still there, indicating a mismatch - and thus more render time. I have a support ticket open with Blackmagic about this, but appreciate your thoughts. ... View more

I've now done a lot of multi-cam edits in PP and am pretty happy with the flexibility it offers, but have not had to use 'audio switching'. Yet. ( I use it in Avid to switch to isolated mic feeds, separate from video, rather than switching VandA together) When I was trying to figure out an audio workflow in PP I did investigate audio switching a bit. It seemed to need to be set when grouping, for a start. From memory it takes the highest track count in your clips and creates a multichannel sequence with that many tracks, with matching adaptive timeline tracks. So if you have 4 cameras - 3 with stereo tracks and 1 with 16 mono tracks then you get a 16 track 'multichannel' source sequence with 4 x 16 track adaptive tracks. C1 on A1, C2 on A2 etc You have to edit that source sequence into a timeline with an adaptive track. You may have to right click on the MC clip in your timeline to enable multi-cam. It should then switch between those source tracks. Adobe have built a powerful and flexible multi-camera engine. It's not simple though and it has not been used extensively yet, particularly with regard to audio. Avids implementation is unwieldy and ancient, but  it is much simpler (mono audio tracks only) and has benefited from being used for many more years on many more productions. If I get time I'll try and look into this again and report back... ... View more

And quickest way to change default duration is: CMD + COMMA then 6 x TABS ... View more

Sweet, thank you, exactly as it should be! ... View more

Thanks for the reply Jim. My workflow is to sync all cameras, usually by timecode, then use the resulting MC sequence as a source to cut into my timeline. As the source is often 5xcams of AVCI, the RAID struggles shuttling around. In avid you can toggle quad/9-way split off/on in the source monitor. How else do you use a Multicam sequence in PPro? ... View more

To answer the subject line question - it looks stereo because it is in a stereo track and panned off centre. it won't sound stereo, just sound like it's mono pulling to one side. ... View more

The Avid alternate left/right and centred would be equivalent to panning in clip mixer, rather than track mixer. And using that setting in Avid, before very recent releases, can screw up sequences in shared environment. I haven't done AAF myself from Prem but what problems are you having? I know if you mix mono and stereo clips in the same timeline track it will split those out to seperate tracks in the AAF but that makes sense to me. Not having head/tail fade- now that is annoying! ... View more

You could put a PIP effect on each camera to make them appear in 2 boxes on the screen. Then add an adjustment layer on V3 and add a time code effect - setting it to match time code from the Zoom. Export and you have a burn in multi-viewer. (I would put smaller burn ins on the two video tracks so I could refer to their timecode if needed) i export to my preview codec (e.g. Prores422) then bring it back in and add it to v3 of a multicam timeline - much easier on the system to cut with the ProRes multiviewer than have it try and play 5 streams of XAVC. May be overkill for two cameras. ... View more

I've used Avid for a loooong time. Adobe's audio implementatio, for the most part, is far stronger. If you want to replicate Avid pre stereo tracks then make a timeline preset with tracks mono, panNed alternately left/right. Then set audio settings to set tracks to mono in imported clips. But the standard tracks you are using are generally better, in my experienc. ... View more

is the audio track mixer set correctly? (Often newbies make adjustments here not realising there are two audio mixers). Centre pan first clip (using audio clip mixer, not audio track mixer). Select that clip in timeline & copy. Select other clips you you want to affect & 'paste attributes' - check 'panner' and click OK (There are various methods for selecting clips) ... View more

Are you using 'cut to camera x' or 'switch to camera x' shortcuts? The former will add an edit point and make the switch, the latter will only make the switch between existing edit points. ... View more

You had to create a new sequence in 2017.0.1 to get the shortcuts to show. ... View more