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April, 2013 Archives

a quick walkthrough of editing a multi-camera sequence with clips synchronized by audio

One of the great features in Premiere Pro CC (7.0) is the ability to align clips in a multi-camera (multicam) sequence according to their audio waveforms. This makes synchronizing clips from various sources extremely easy, and it tends to be more accurate than the previous methods involving manual setting of In points, et cetera.

This post is not intended as a detailed exploration of all of the multicam improvements in Premiere Pro CC (and there are many), but as a quick end-to-end guide to show how easy it is to edit a multicam sequence.

Step 1. Start Premiere Pro and create a new project.

Start Premiere Pro. When the Welcome screen appears, click New Project.

In the New Project dialog box, enter a name for the project, and click OK to accept the defaults.

New Project

Step 2. Import footage.

Choose File > Import. In the Import dialog box that appears, navigate to the directory containing your video and audio files. Select the ones that you want to import, and click Open. You can select a range of files all at once in the Import dialog box by clicking the first one and Shift-clicking the last one, selecting everything in between.


The footage items will appear in the Project panel, as shown here. Note that I have three video files with audio, plus one audio file from an external recorder. The audio-only file is my good audio track, whereas the audio from the video files will be used as reference audio for synchronization.


Step 3. Make a multicam source sequence.

With all of the footage items selected in the Project panel, choose Clip > Create Multi-Camera Source Sequence. (You can also access this command by right-clicking on the selected items in the Project panel.) This makes the Create Multi-Camera Source Sequence dialog box appear.

Create Multi-Camera Source Sequence

Choose to synchronize according to audio by choosing Audio in the top part of this dialog box. Leave other settings at their defaults and click OK.

This creates a new multi-camera source sequence in the Project panel, and it moves the clips into a Processed Clips folder.

Multi-Camera Source Sequence

Premiere Pro knows to mute the audio for the video clips, since their audio is just used as reference. You can see this or change it by opening the multi-camera source sequence in the Timeline panel.

To see the multi-camera source sequence in the Timeline panel (which you don’t really need to do right now, but maybe you’re curious), right-click it in the Project panel and choose Open In Timeline from the menu that appears. Here you can see that the clips have been arranged in time so that their audio waveforms are aligned.

Multi-Camera Source Sequence

You’ll use the multi-camera source sequence much like any other clip.

Step 4. Make a multi-camera target sequence.

With the multi-camera source sequence selected in the Project panel, choose File > New > Sequence From Clip (or right-click on the multi-camera source sequence and choose New Sequence From Clip from the context menu).

This creates a new multi-camera target sequence, and opens it in the Program Monitor and Timeline panel.

Multi-Camera target sequence

Step 5. Enable multi-camera editing in the Program Monitor.

Click the Settings button (the button shaped like a wrench in the lower-right portion of the Program Monitor), and choose Multi-Camera from the menu that appears. This converts the Program Monitor to multi-camera mode.

Program Monitor

Step 6. Enable recording of multicamera edits.

Press 0 on the main keyboard to enable recording of multicamera edits.

Step 7. Begin editing.

In the Program Monitor or Timeline panel, press the spacebar or otherwise begin playback. While the sequence is playing, press the number key on the main keyboard to cut to the camera with that number. The active camera’s clip has a red border around it in the multi-camera view in the Program Monitor.


You can go back and play through the sequence as many times as you like, making and refining edits. When you stop playback, you’ll see the cuts reflected in the Timeline panel.

Step 8. Export.

With the sequence active in the Program Monitor or Timeline panel, choose File > Export > Media.


Just choose your export settings and click Export (or Queue to send the export job to Adobe Media Encoder).

It’s that easy.

Premiere Pro CC (7.0)

Today is a very exciting today for us here at Adobe, as we are revealing the next and greatest version of Premiere Pro, alongside brand new versions of our other professional video and audio applications. You can check out demos of the top features for all these next versions on our NAB Reveal page:

While these versions are not yet available, if you’re a Creative Cloud member, you’ll automatically be able to get these new versions as soon as they’re available as part of your membership. And if you’re not a member yet, now is a fantastic time to sign up, because we’re offering a special 40% discount until the 19th of April.

Designed to work the way editors think, the next version of Adobe Premiere Pro offers a slew of new features and refinements that let you move through your projects efficiently and intuitively, including Editing Finesse workflow enhancements, Link & Locate to help you find files faster, an expanded audio toolset, an even more responsive Mercury Playback Engine, and a powerful new closed captioning workflow.  We’ve also added the Lumetri Deep Color Engine to Premiere Pro, so you can apply .look files from Adobe SpeedGrade to your clips and cut with the aesthetic of the grade. A library of preset Lumetri looks is included, offering simple, beautiful looks without leaving the application.

There are so many new features in the next version of Premiere Pro it will take some time to go through them all, but in the meantime here’s a pretty comprehensive list:

Top new features in the next version of Premiere Pro

  • Editing finesse: multiple refined tools and workflows to help you work faster than ever
  • Redesigned Timeline: a cleaner look and feel for intuitive workflows
  • Customizable track headers with the option to save track header presets. Scrolling the mouse wheel or keyboard shortcuts can be used expand tracks.
  • Duplicate frame markers: see which frames have already been used
  • Paste attributes: paste the attributes of customized effects
  • Link & Locate: Allows for much faster and simpler clip relinking and media management
  • Lumetri Deep Color Engine: Apply rich color presets to clips from the new Lumetri Looks browser, or apply LUTs or .look files from Adobe SpeedGrade to clips
  • New Audio Clip Mixer for adjusting levels on individual clips
  • Audio control surface support
  • New audio Plug-ins including the TC Electronic Loudness meter
  • Support for VST3 and Audio Unit plugins (Mac OS only)
  • Adobe Anywhere for video integration. Just launched, Adobe Anywhere is a modern, collaborative workflow platform that empowers users of Adobe video tools to work together, using centralized media, across any network. Learn more here.
  • Industry-standard mezzanine codecs DNxHD (in MXF), and ProRes are built-in (ProRes encode requires Mac OS X 10.8.x)
  • Natively edit more formats including Sony XAVC and Panasonic AVC-Intra 200
  • Import, edit, repurpose, and export Closed Captions
  • OpenCL and CUDA support on Mac and Windows, and far more supported GPUs than ever before (plus the ability to enable an unsupported GPU)
  • AAF and XML import improvements to allow you to move projects and sequences from Avid and Final Cut Pro 7 (or earlier) systems

(Nearly) all new and changed features in the next version of Premiere Pro

Here is a virtually comprehensive list of changes, with detail beyond the summaries of the top items listed above. We’ll be posting a lot more detail over the coming weeks, and the outline below will be populated with links to in-depth articles and tutorials, so bookmark this page and check back.

User interface

▪ Adobe Story panel

▪ Adobe Exchange panel

▪ More icons and interface items created for HiDPI displays

▪ New audio effects plug-ins interface for clip and track effects

▪ Work Area Bar display set to off by default

▪ Action-safe & title-safe indicator in monitors for HD frame sizes

▪ Add or delete a track using context menu commands

▪ Command to enable or disable video preview through Mercury Transmit

▪ Double-click to expand or collapse tracks

▪ Timeline Track Height presets


Importing and sequence setup

▪ Improved AAF importer

▪ Support for Sony XAVC formats

▪ Display project bin structure in Media Browser for importing elements of a project editing

▪ Improved multicam editing

▪ Timesaving editing features

▪ Adobe Anywhere for video support

▪ Copy command enhanced to operate on a range in a sequence

▪ Create Multi-Camera Source Sequence from a bin or selection of clips

▪ Customizable number of Undo levels

▪ Dialog box for naming nested sequence when it is created

▪ Insert and Overwrite sequences as nests or individual clips

▪ Keyboard shortcuts for moving selected clips up or down to different tracks

▪ Multicam mode

▪ Navigate to and select next clip and previous clip

▪ Out-of-sync indicators for unlinked audio and video

▪ Preference to snap playhead when dragging it in the Timeline panel

▪ Subclips have the ability to access media beyond original limits

▪ Better, easier source patching/track targeting

▪ Through-edit indicators and Join Through Edits command

▪ Trimming to zero duration

▪ Option to show or hide clip markers effects and color

▪ Arrow keys for moving clip (modifying Position property)

▪ Automatically import an exported frame or movie into the project



▪Clip Name effect

▪ GPU-accelerated Wipe and Slide transitions

▪ Lumetri look presets and .look and LUT import

▪ Paste Attributes option dialog box

▪ Render Selection command to render selected clips

▪ Symmetrically trimming transitions

• Crop effect now has Edge Feather function



▪ Multiple GPU export support

▪ OpenCL processing on Windows



▪ Rectified audio waveforms

▪ Switch Source Monitor to Audio Waveforms by clicking Audio edit button

▪ Ability to switch waveforms in Source Monitor by clicking a button

▪ New audio effects plug-in window

▪ Audio Meter, Track Volume and Pan controls available in Timeline Track Headers

▪ Audio output mapping preferences for Mercury Transmit

▪ Audio waveform visible for nested sequence

▪ Ability to switch waveforms in Source Monitor by clicking  button

▪ Audio Clip Mixer

▪ Keyboard commands for increasing and decreasing clip volume

▪ Context menu command for showing audio time units

▪ Keyboard shortcuts to change pan values

▪ Modify—Audio Channels available for nested sequences

▪ Open an audio plug-in effect window from clips in a sequence

▪ Toggle Audio During Scrubbing


Exporting and Adobe Media Encoder

▪ Edit to Tape panel available for easier tape layback

▪ 16 bit DPX support

▪ Improvements to Smart Rendering

▪ QuickTime audio export with individual tracks



▪ Project and media management⁃ Importing individual clips, sequences, and other items from project files

▪ Import, repurpose, and export Closed Captions

▪ Audio Control surface support

▪ Custom location for Auto-save folder

▪ HiDPI user interface upgrades

▪ New Sequence dialog box suppressed when opening a new project

▪ Preference for loading most recent project when application starts, skipping Welcome Screen

▪ Preference to toggle tool tips on or off

▪ Search box in Marker panel

If you’re lucky/brave enough to be heading to Las Vegas next week for the NAB show, you’ll be able to see these new versions yourself. We hope you like what you see – we pride ourselves on listening to and engaging with the editing community, and this version brings many of the most requested features to the next version of Premiere Pro. If you want to ask questions about these new and changed features, come on over to the Premiere Pro user-to-user forum.

What’s new in Adobe Media Encoder CC (7.0)

Today we are revealing new features that are coming the next version of Adobe Media Encoder as well as our other professional video and audio applications, Adobe Premiere Pro, After Effects, Audition, Prelude, and SpeedGrade. To see sneak peeks of all the Adobe professional video and audio products, click here.

The next version of Adobe Media Encoder is full of new features that allow it to continue to be the backbone of many postproduction workflows. Whether you use Adobe Premiere Pro, Adobe Prelude or Adobe After Effects to name a few, you can be sure that Adobe Media Encoder is running in the background to help.

You can see the features in action on the NAB Reveal webpage, and if you are in Las Vegas at NAB, come on over to the Adobe booth to see some demos and to talk with us.

When can you get your hands on these upcoming features? Although the next versions of Adobe Pro Video apps aren’t available now, we’re offering a NAB Show special to get 40% off your first year of Adobe Creative Cloud membership (only $29.99/month), and you’ll automatically get these new features as soon as they are available. You can check out upcoming top features coming to the next versions here. Creative Cloud is available for individuals or teams.

Here is a look at some of the top new features coming to the next version of Adobe Media Encoder.

  •  (Enhanced) Output to virtually any screen, device, or format – Quickly and easily output your work for virtually any video or device format including DNxHD and ProRes.  Customize, set and organize your favorite presets in the Preset Browser for fast export and batch encoding in the background.
  •  Match Source Settings for H.264 and MPEG-2 exporters – Save time and automatically have your output sync with your input through Match Source Settings.  It is easier than ever to be able to chance format + bandwidth while ensuring the integrity of frames per second.
  • Export Closed Caption data – Export closed caption tracks seamlessly with Adobe Media Encoder from Adobe Premiere Pro sequences. Adobe Media Encoder exports closed caption tracks from Premiere Pro sequences as a separate “sidecar” file that contains the caption data. For QuickTime exports, you can choose to export the data either as a separate sidecar file, or embed the data within the output file.
  • Enhanced integration with Adobe After Effects – Export Adobe After Effects compositions directly into Adobe Media Encoder saving time and ensuring a smoother workflow. Several export formats previously available in After Effects are now available within Adobe Media Encoder.
  • (Enhanced) Support for Avid DNxHD Assets – Adobe Media Encoder easily supports the import and export of Avid DNxHD assets with no need to install additional codecs.
  • New MPEG-2 exporters – Performance enhancements and a UI redesign were done to MPEG-2, MPEG-2 Blu-ray and MPEG-2-DVD export formats.
    • Quality slider now has a range of 1-100 instead of the previous 1-5
    • New layout matches H.264 and other newer exporters
    • Enhancements to SurCode for Dolby Digital audio codec – This audio codec is now available for MPEG-2, MPEG Blu-ray, MPEG-2 DVD, H.264 an d H.264 Blu-ray exporters.

My colleague, Todd Kopriva, has written a more technical piece on Adobe Media Encoder centered on Adobe After Effects here. This piece is great at showing Adobe Media Encoder’s value to the other professional video products.

There is a look at the top new features coming to the next version of Adobe Media Encoder. Please continue to follow the Premiere Pro blog, Adobe Media Encoder site, and user forums for updates on Adobe Media Encoder in the coming weeks.

To discuss these new changes and features, please visit the Adobe Media Encoder user-to-user forum.

What’s new in Adobe Prelude CC (2.0)

Jump-start your production with Adobe Prelude, a unified interface for easy ingest, logging and transcoding that allow you to work faster, stay organized, and prepare your digital footage for a streamlined post-production process.

Today we are revealing Adobe Prelude CC (2.0), as well as our other professional video and audio applications – Adobe Premiere Pro, After Effects, SpeedGrade, Adobe Media Encoder and Audition.  To see all the top new features in the future versions of these apps, click here.

The next version of Prelude is full of new features to empower and improve your postproduction workflows.  You’ll save time with an intuitive, keyboard-driven workflow, entering temporal markers and other searchable metadata while keeping your eyes on what matters most: your footage. With expanded file support for ingest and transcoding, Adobe Prelude accelerates shot-logging with new features like hover scrubbing thumbnails in the Project panel, file renaming during ingest, and metadata templates which ensure that key information is always added. Export rough cuts directly through Adobe Media Encoder to share your vision on virtually any device. And you can collaborate in new ways with your team with new Prelude integration for Adobe Anywhere for video and Adobe Story.

Although the next version of Prelude and the other professional video and audio apps aren’t available now, we’re offering a NAB Show special to get 40% off your first year of Adobe Creative Cloud membership (only $29.99/month), and you’ll automatically get these new features as soon as they are available.

Here’s a little more detail on the top features coming to the next version of Prelude:

  • Hover scrub thumbnails – Quickly review clips in the Project panel by hover-scrubbing thumbnails—no need to open the clip to see what is there. Click the clip, make it active and play it (including audio) using standard keyboard controls.
  • Rename files on ingest -Apply descriptive names to your files as you ingest so that you can more easily search for and find what you need later.
  • Define what information you need on ingested clips – Make sure media is tagged with the appropriate level of detail by creating customize templates that let you mandate what information is collected and applied to clips upon ingest.
  • Turn scripts into metadata with Adobe Story – Import a file from Story into Prelude, and turn your script into meaningful, searchable metadata that flows into Adobe Premiere Pro, speeding the editing of projects that rely on finding just the right word.  For more on this check out Wes Plate’s video located on the NAB Reveal page.
  • Support for growing files – The next version of Prelude helps you ingest and log growing files. This means post-production and editing work can begin even as production continues. This is great for projects requiring a fast turnaround, such as live-to-broadcast shows. As footage is being recorded by a system such as Omneon Media grid or Sienna PictureReady, Prelude continues to check in to see which files have grown. Prelude then refreshes that material so you can continue to work on your footage.  Additional hardware is required based on volume of growing footage.
  • Enable team collaboration with Adobe Anywhere – Prelude will have first class integration with Adobe Anywhere for video enabling for ingest and logging of files to remote servers.  Adobe Anywhere for video is available as a separate purchase and implementation.  Visit the Adobe Anywhere page to learn more.
  • Ingest files directly into selected bins – This new feature saves time in organizing footage because the user can direct where the ingested material will appear.  You can now ingest into a project specific bin instead of just the root bin.
  • Sony XMPilot Metadata support – you will be able to import the metadata found on a Sony XDCAM HD camera with XMPilot option into Prelude.  Prelude takes the static metadata found with the footage and adds it to the metadata panel.  Essence markers, markers that mark footage with interesting moments, show up as a comment marker in Prelude.  This adds value to your media and allows for easy search ability.
  • 64-bit on Windows and Mac – the next version of Prelude will be now natively, 64-bit on both Windows and Mac giving rock solid performance and stability.  Please note Prelude will only be available as 64-bit in future versions.
  • Create and Export Rough Cuts – the next version of Prelude offers you the option to export Rough Cuts directly through Adobe Media Encoder to share with others for review or for uploading to video sharing websites.

You can check out upcoming top features coming to all the next versions of Adobe professional video and audio apps here. , and read a preview of Prelude here.  If you are in Las Vegas at NAB, come on over to the Adobe booth to see some demos too!   Please continue to follow the Premiere Pro blog, Prelude website and user forums for updates on Prelude in the coming weeks. To learn more and discuss these new changes and features, please visit the Prelude user-to-user forum.

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