I used it a lot way back in CS3, as I was frequently doing a 3-cam shoot for roller derby matches. It basically allowed me to cut a 90-minute match in 90 minutes, then go back in and tweek a few cuts where I didn't get it quite right on the fly. These days, I only do one 3-cam shoot at a college graduation ceremony. I still use it for that, but do not use it for the frequent 2-camera shoots I do, which are mostly mock trials in courtrooms for teaching purposes. I think that the multicam feature is great for things like live events where ultra precision is not particularly necessary. I know that it sped up my workflow considerably for roller derby.
In PPRO, one can turn any layered sequence into a Nest. Why not just do that? (Is there a downside to doing so?)
That question confuses me. You have to do that in order to edit MC.
There are two ways of creating the nest Jim.
One is to directly turn the Layered Sequence into a Nest without creating a new sequence.
The second is to Create a new sequence and Drag the Layered Sequence into it...thus creating a Nest in a new sequence.
Tutorials all seem to show the second method.
I wondered why.
You'd probably have to ask the individual tutorial makers that one.
I wondered why.
Fundamentally, there is no difference. Functionally, there can be, and I've used both methods for different purposes.
When my edit sequence is going to match my sync sequence, e.g. DVCPRO HD 720p24, I'll build the sync sequence and then select all the angles and nest them. Enable multicam and you're good to go. However, I occasionally edit in a different type of sequence than what I sync in, e.g. DV Widescreen with clips synced in an HD sequence, so in that case I build the sync sequence and then manually nest it into my edit sequence. That way, I'm controlling the variables for the sequence settings; when you use the Nest command, you're locked to whatever your original sequence settings are. You can get where you want to go with whichever road you take.
As far as sending a multicam edit to AE, depending on what you're trying to do, it's difficult or impossibly messy. If you're just looking to drop effects on each individual angle, simply use Replace with AE Composition on each angle individually in your sync sequence; you'll have two to four DL comps that operate as your source footage. If you go that route, I recommend first nesting each individual angle into its own sequence, so you can go back to the original footage more easily if you need to.
If, however, you're planning on doing transitions, etc. in AE, you're going to have a painful experience. At the moment, PPro's multicam and AE don't really mix that well. Try a small example, and you'll see. It's awkward, at best.