{"id":4057,"date":"2011-10-22T16:07:35","date_gmt":"2011-10-22T20:07:35","guid":{"rendered":"http:\/\/www.premiumbeat.com\/blog\/?p=4057"},"modified":"2011-10-22T16:09:09","modified_gmt":"2011-10-22T20:09:09","slug":"setting-up-for-multi-camera-editing-in-avid-media-composer-part-1-of-2","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/setting-up-for-multi-camera-editing-in-avid-media-composer-part-1-of-2\/","title":{"rendered":"Setting up for Multi-camera Editing in Avid Media Composer: Part 1 of 2"},"content":{"rendered":"

Make sure you get yourself set up right for multi-camera editing in Avid Media Composer!<\/h2>\n

This is the first part in a 2-part series on multi-camera editing.\u00a0 Check out Part 2 here<\/a>.<\/h5>\n

With the advent of multi-cam in the 1950s, both production and post-production changed completely.\u00a0 All principle shots (LS, MS, CU) could be captured in a single performance\u2014in live or studio-recorded settings.\u00a0 Hours of production time were eliminated because the scene didn’t have to be re-lit and re-set for each take, and directors were able to call shot switches on the fly.\u00a0 Further, editors were able to edit a scene without the typical host of continuity issues that are common in single camera shoots.<\/p>\n

Over the years, there have been numerous phases of popularity of multi-cam for television shows, but it has remained a staple for event videography and editing.\u00a0 Let’s take a look at how multi-cam is shot, and then we’ll take a look at how to set everything up in Avid Media Composer.<\/p>\n

Here is a typical multi-cam setup:<\/h3>\n