It will be interesting to see if Adobe responds to either of these new features in the next version of Premiere Pro.īeyond the new features discussed above, multicam works similarly to Final Cut Pro 7: first you group your clips into a multiclip, then you add it to a timeline and select your camera angles. But if you’re shooting major events like the Paul McCartney concert I used in my tests, four clips isn’t enough. This works for most event and corporate shooters who rarely go beyond four cameras. Where FCPX supports up to 64 angles, Adobe supports only four. The first is the auto-sync feature discussed above the second is the number of supported angles. If you’re a DSLR live event shooter limited to 10 minute chunks, FCPX now either saves you the $149 you’d otherwise spend on Singular Software’s PluralEyes or hours of time syncing your clips together.įCPX’s multicam is also superior to Adobe Premiere Pro’s multicam offering in two very key ways. The new multicam feature in Final Cut Pro X is miles ahead of Final Cut Pro 7, because it can handle multiple diverse formats, puts your tracks on a timeline so you can easily apply effects to them, and because for many projects, it aligns the clips automatically using audio waveforms. Here is a great article from Jan Ozer who takes Apple’s FCPx for a multicam test-drive using footage from my book Mastering Multicamera Techniques:
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