Perhaps I don't fully understand the problem, but it seems to me that you have an audio track that should allow you to sync all of the clips from one performance fairly easily in one sequence. Do that three times.
Then use three sequences for a multicam edit.
What am I missing? If the audio track is one long recording, you just match up the clip to the audio on the timeline and leave it there. No markers of any kind are required. Are they? You must have one long recording of audio, right? And if not, he should be able to provide you with one. No?
Sorry, Steven (and others...) the lateness of the hour etc. I put a lot of my intended reply to this in the following message:
It's replying to a related issue.
Here's the timeline. Note the multiple clip markers. They're now officially HELL to get in. AVCHD doesn't make timecode (well, I hear it DOES but no one knows how to extract it...note the names of my files which are made by an external program, they are the exact year/month/date/hour/minute/second at which the record button was pressed - if THAT'S in the metadata, tell me it can't make timecode...but that's for another post on ANOTHER night...)
Anyway, the old method of inserting clip markers is gone, and the replacement is NOT fun. When I have to re-sync (for each clip - note that the green audio clip is one of the originals synced to the clip markers and used to enhance the audio in the finished product; there are lots of those and each one needs the clip to be cut, moved out and re-synced, because there's a variable length of dialogue between the musical numbers so it's NOT just one sync. Note that the timeline above shows three sets of markers - the second one being redundant and I should have gotten rid of it - and the green inserted sequence was synced separately before being exported to YouTube.
The current workflow: place the timeline somewhere in the Source Monitor and type M, a marker appears...generally in the wrong place in the timeline. Drag it in Source Monitor until it's in the right place in the timeline. Pray a lot.
Try syncing the playheads between timeline and source.
When in the sequence, target the track the clip is on, then instead of double-clicking to open it in the Source Monitor, hit the F key.
I feel something good was taken away.
It was. Please let them know.
Finally, there is a keyboard shortcut to add clip markers while in the sequence, it's just not set by default. But you can go into the keybaord shortcuts and search for Clip Marker commands and set one up yourself.
Jim, thanks so much. The "buried" commands keep being elusive (and I'm training my fingers to hit "Ctl-Alt-Shift-M" which I stole for Mark Clip from Clear All Markers which I'm less likely to use). I did go into the wish form and express that this should not have been removed from the Clip and/or Marker menu.
The really helpful one (Adobe TS couldn't find this one yesterday) was the F key shortcut. Pressing F M essentially solves the problem for me...it would be nice if it were more easily available. It's kind of like coming into a restaurant and finding out that there's a secret "extra" menu (there often is, actually...)
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Something about the look of your sequence bothers me. Wouldn't it be easier to have one completely uncut audio track as a reference point all the way through? Or is it down below where we can't see it?
"In 'n Out" hasn't deigned to enter the NY market...oh well. I understand it's great.
The one completely audio sequence would be great if people sang like computers Unfortunately, singers make mistakes and/or just sound better on one number one day than on the next, so there's a bit of mix & match going on; also in some places the sound guy didn't put the audio track high enough and the client wants to "goose" it a bit by adding in some of the original (originally midi, now MP3) audio.
ALSO - the musical numbers will match exactly but the spoken dialog won't. As I mention below, there are multiple MP3s that run the show, each fired by a sound man on a specific onstage cue. As a result each number has to be trimmed out and re-synced. EACH song will match its MP3 exactly but the whole timeline won't. I know, I know...there may be trouble somewhere down the line. So far it actually LOOKS pretty good, though. I'm about 23 minutes into the 2 hour timeline.
Take a look at the YouTube clip of "Easy as..." and you'll see how it works:
There are a few associated clips around that one (including the February workshop which I also did the video for, but no monkey business with multi clips on that one). It's possible, if you know what's going on, to find some inconsistencies (blonde dancer has her hair different one night than the other; lip sync isn't perfect etc.) but the effect does satisfy the client and it's a really good exercise in editing
BTW - I can't use the MP3 as reference because there are many (like 30) MP3s associated with the show, fired up on cue by a sound man backstage - RUNNING IT FROM AN IPOD. That's "fringe theater" for you (it was part of NY Fringe Festival - the show has to be able to enter and clear the theater in FIFTEEN MINUTES per move, there is about 45 min between shows in the same theater etc.)
I did this once, on my first stage performance gig.
Only once, though. Faux-multicam is a HUGE pain.
OK, I get it.
So I guess you start by lining up all 30 MP3s on every track. It is reasonably easy, if time consuming, to do that. The problem then becomes where to make the cuts. Before the MP3, or after. Or both. My guess is both.
That means the real editing comes in between the songs.
If you left a little extra room on the timeline before and after each song, it would probably be fairly easy to close it all up tight after you decided which video track to use at each point along the line.
I can see why you want to use the markers, I am still not sure if it is really necessary.
All I can say is "good luck to you". Lots of work. I hope it is a labor of love, or money, and not obligation.
Actually, the LAST step is lining up the original MP3s. It's easier to get the audio lined up from common track clicks or pops, do ALL editing and then add in the original audio. I've done about 25 minutes of the 2 hour show so far and it's actually gotten a lot easier (especially when I discovered the "off-the menu" F shortcut...works from either composite video or the audio track displayed in the Source Monitor; F syncs the source monitor to the timeline and sends focus to the source, so a dual keystroke FM puts the marker exactly where it belongs! Making snap active causes the group of clip markers to sync automatically...and a lot more ground got covered today (than yesterday, the first day of this extravaganza).
SO...I'm not as hot for the old-style marker clips; I just wish that the documentation and Tech Support was clearer on the hidden-gem F keystroke.
Thanks to Steven, Jim and all who read this and tried to help!