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Put the CTI at the timecode that you want to start (in your case 02;00;00;01).
In the Project panel, sort the clips by either the media in point or the video in point column. Then choose Project>Automate to Sequence. In the dialog that opens, make sure to choose "Sort Order". Click OK and off you go.
Patrick. It may help you to know that you can type in the T/C into the T/C Window Boxes. This entry will position the CTI at the exact location.
Apart from this I doubt there is an easier way. Each will have to be done manually.
Jeffs idea will work if the rest of the clips follow on sequentially from the first T/C.
yeah, manually is the best i can come up with, too. It seems like this would be a handy feature, especially in the world of P2 clips...
Why do you need the Source T/C to match the Timeline T/C?
I use P2 and can see no reason why I would want that.
In fact. I largely ignore T/C for much of what I do these days.
because i have footage from 5 cameras that weren't continuously shooting during a 2 hour event.
Oh, that's a nightmare. Multicam footage should always run continuously.
> footage from 5 cameras that weren't continuously shooting
But its only 45 clips. Shouldn't be too bad....
However, I'm not sure I understand your workflow. I can understand lining up some kind of timecode, but how does it help to put 1;00;20;00 from one clip at whatever point of another? Synching clips is matching what happened at a particular point in time.
Well, I have five p2 cards with footage covering the 2 hour event. Unfortunately as noted above it was not a continuous run, so i have about 300 clips waiting to be sync'd up so that i can do a multi-cam edit. yikes.
i basically have five tracks and each is dotted with footage at whatever moment the camera happened to be turned on.
i didn't design the shoot, i was just saddled with the footage.
>Oh, that's a nightmare. Multicam footage should always run continuously.
Would you have used a two hour plus tape in each camera?
A good example why your advice is nonsense. They shot the Rolling Stones Concert (in New York) multicam on film Jim and they never shot with enough film in each of the many cameras to cover the event continuously withouit a reload.
Unfortunately for Patrick he has to line up his footage manually but it aint impossible. The production could have made his life a lot simpler but failed to do so evidently.
Hopefully you are able to charge accordingly Patrick.
What sort of t/c is it anyway? Hopefully not "regen"!
Free run TC will be helpful and easier.
I'm not sure this would work, and I have no way to test it, but did you try using the "Synchronize" command under the Clip menu? Basically, you'd put all your clips from a given camera position on one track, and stack up to four tracks this way (you can only multicam 4 cameras natively in PPro, but you can always multicam the multicam with the fifth angle). Then, selecting all the clips, you'd select Clip > Synchronize and use the timecode option to sync up the clips. Now, I'm not sure PPro is smart enough to figure out the offsets, but it's worth a shot.
The answer is, emphatically, YES. I have a clause in my contracts that makes the quote for the job null and void if multicam assets are not continuous TC. They then either renegotiate, or pay by the hour, or get someone else to do it.
After all, tape is dirt cheap compared to hourly editing charges! You'd think the idiot who directed the shoot would know that!!!
Holy #$%$, 5 angles, 300 clips, in PPro. You have my sympathy!
>they never shot with enough film in each of the many cameras to cover the event continuously without a reload.
That's because film cameras don't hold enough to shoot continuously without a reload. That doesn't negate the soundness of shooting continuously when it can be done.