"Margaret Willmer" wrote in message
...

I've got Premiere Elements 2. I've used version 1 for multi camera edits
so I expect that 2 will be the same.

MSP here - I could never get used to Adobe products, although I'm struggling
with the changeover in MSP8

I have recorded using 3 cameras. If I line up the tapes at the beginning
after awhile they go out of sync - I assume that is something to do with
tape stretch or just each camera being slightly different - but it is
fairly erratic. I discovered that it is easier to line up the tracks using
the audio tracks - the clapper board approach.

I've been pretty lucky. My two Canons stay synched to the frame for a full
one-hour tape. My little Sony has been used on occasions for a three-camera
shoot, but it's only ever been run for 20mins at a time tops. That was
before we realised the value of leaving all three tapes going so that we
don't have to keep resynchronising.

It's easy enough to deal with mismatched tape rates. Identify your master
and secondary clips (master in my case is usually from the XL1, which has a
better soundtrack if not better video than the XM1). Split the secondary
somewhere in the middle, and synch the first half of it with the primary
using a "feature" (door slam, camera flash) that occurs as close to the
start of the tapes as possible. On a different track, synch the second half
using a feature as close to the end of the tapes as possible. The two halves
of the secondary will either have an overlap of a few frames or a gap of a
few frames. You need to even out this gap by spreading those extra frames
(overlap) or missing frames (gap) across the entire tape clip, one frame at
a time. So if you have a 6 frame overlap on a one-hour clip, you need to
lose one frame every ten minutes. If you have a one second gap you need to
have a one-frame gap every 2½ minutes (you'll still be one frame out at the
end, but no-one will notice that).

During editing, you can move the splits as you see fit - they don't have to
stay in exactly the evened-out positions, as long as they are there.


I have one to do now of a play in fairly short scenes. I think it best to
do the scenes individually and make avis of each one then put the lot
together at the end. I've got to work out though if it is best to use the
sound track from just one camera and fit the video around it.

The one I did tonight (which prompted the start of this thread) is exactly
an hour long with a half-hour set for the infants, five minutes for the
musicians, then 25 minutes for the juniors. I'll be OK with the DV tapes,
but the MD will need to be synchronised as described above.

"Laurence Payne" lpayne1NOSPAM@dslDOTpipexDOTcom wrote in message
...
On Thu, 07 Dec 2006 10:10:13 GMT, "G Hardy"
wrote:

Despite external provision of plug-in power, the mic will not deliver
Line level.

Thanks for the reply, Laurence.

To someone whose audio knowledge is extremely lacking - what does that
actually mean in practical terms? In either case, I'll adjust the record
level as best I can.


Depends what your "little battery power thing" is. If it merely
provides the plug-in power normally supplied from the mic socket, the
mic will still be delivering a mic level signal. Line In expects a
voltage several hundred times stronger. Not suitable.

Or maybe it's a preamp or mixer. Tell us?

It's only got "on/off" and "stereo/mono" switches - so I'm guessing it's
just providing plug-in power so it can be used with line in. However, the
following page:
http://www.froogle.richersounds.com/...IVA-STEREOCLIP

states: "...For even better results a battery powered booster amp' (single
AA - supplied) is supplied as standard. This improves the microphone's
effective range from a meter or two, to a far greater length."

so I'm obviously wrong.