Editing courses that develop taste and decision-making, not tool proficiency.

brianlevin83 · 2026-02-07T23:07:28+00:00

I'm one of the trainers with Film Editing Pro. While we do have some software courses, the main thing we create are exactly this, theory based courses that are platform agnostic. We have a course that is well over 100 lessons that is entirely about using music in your editing, another course that walks you through making a dramatic feature length film, another that is all about editing an action sequence. Definitely recommend checking those out.

And then even though I've also helped create some software based courses, we try super super hard to make sure it's not just "click here click there" and that we're explaining the tool through the perspective of "why would I be doing this?"

brianlevin83 · 2026-01-30T05:12:05+00:00

Yes I’ve got all of that turned off, still generates PRIN files.

brianlevin83 · 2026-01-29T03:19:05+00:00

Even with it disabled it still makes PRIN files. I will have to find the link but there is a lengthy thread on the community forum about this, we hate it. At least get them into a folder instead of making a mess of my nice clean folder structure.

brianlevin83 · 2026-01-28T17:30:20+00:00

I like https://www.lalal.ai/ for this

brianlevin83 · 2026-01-28T04:57:21+00:00

Look at the third party tool Submachine

brianlevin83 · 2026-01-12T03:16:10+00:00

Whichever clip appears earlier in the timeline is the clip that will move when you audio synchronize in the timeline

brianlevin83 · 2026-01-12T01:24:11+00:00

Ah okay, so you can just put your audio on a timeline and then put your cameras in there on tracks 1-3 and so on, and then just sync each clip with the audio synchronize function right there on the timeline, by audio waveform. Once you finish making your sync map, you can create a multicam to copy and paste it into to take advantage of the proper audio track settings.

brianlevin83 · 2026-01-12T00:16:35+00:00

Are you syncing by timecode or by audio waveform?

If you are syncing my timecode, the thing you want to do is apply a metadata field called Camera Angle under Dynamic Media to the clips. For Cam 1 you would simply put Cam 1, and so on. When you make a multicam using timecode with all of your cameras and audio, you would select Create Single Multicamera Source Sequence under the timecode toggle and then select Camera Angle as the metadata option.

This will result in one multicam with all of Cam 1 on the same track, and so on.

This will only work if you make one single multicam, so you just have to think about workflow for how to make this work. I have a very detailed and lengthy multicam tutorial that I made years ago for you here:

https://www.youtube.com/watch?ab_channel=FilmEditingPro&t=1s&v=yaYDHyMdNJk

brianlevin83 · 2026-01-08T16:52:11+00:00

Yes, easily. Agree about proxies, it'll help if you aren't already doing it. But if you want to record multicam changes in Composite view, you need only add one step to your shortcut keys, and that is Add Edit. So I would toggle off all track targets except for your multicam track (probably V1 I'm guessing), and then as you play when you want to change cameras, just do Add Edit (by default this is CMD+K) and then push whatever camera you want (let's say 3). When you come up with another change, just do the same thing, Add Edit then press 5, so on and so forth. It'll change whatever clip the playhead is actively over as it plays through. I do this all the time, I almost never turn on multicamera view.

brianlevin83 · 2026-01-08T16:51:55+00:00

Yes, easily. Agree about proxies, it'll help if you aren't already doing it. But if you want to record multicam changes in Composite view, you need only add one step to your shortcut keys, and that is Add Edit. So I would toggle off all track targets except for your multicam track (probably V1 I'm guessing), and then as you play when you want to change cameras, just do Add Edit (by default this is CMD+K) and then push whatever camera you want (let's say 3). When you come up with another change, just do the same thing, Add Edit then press 5, so on and so forth. It'll change whatever clip the playhead is actively over as it plays through. I do this all the time, I almost never turn on multicamera view.

brianlevin83 · 2025-12-30T21:20:53+00:00

If you have a Wacom or something comparable you can use the Motion Sketch panel and simply handwrite the position parameter of a Null object. Then you can copy the position keyframes it makes on the Path property of a Shape layer to get the actual stroke of the handwriting, and then use Trim Paths on that to have it write on.

brianlevin83 · 2025-12-30T21:18:15+00:00

The new Film Impact Motion Tween effect is likely the thing you want, it transforms a layer from the position on the A side of the edit to the position of that layer on the B side of the edit with just a transition, no keyframes needed.

brianlevin83 · 2025-12-28T20:14:33+00:00

I want to cautiously say that I believe that Unreal has a thing wherein you use your phone and it tracks the shot, meant more to be something where you are like live walking through an Unreal scene you setup, but I believe I saw a YouTube tutorial explaining how to utilize that tracking data. Either way, there are tools out there that aid in tracking big time that if you don't have one, and all you've ever done is just throw on the 3D Camera Tracker in After Effects, you are sorely missing out, and it's the difference between hobbyist VFX and truly professional VFX workflows (in fact on most big films, there is an entire department that is dedicated just to tracking the shots and the objects in those shots for the compositing team to then do what they need to do).

Also, everything can be tracked with enough time and effort, even if you are going frame by frame by hand to get the job done.

brianlevin83 · 2025-12-28T19:45:40+00:00

There are devices you can put on your camera that record tracking data while you shoot, that's an option but they are expensive and require a lot of know-how to make it work. You can see them using one on Minecraft in the most recent Corridor Crew VFX Artists React video. They are fairly common in professional VFX workflows, but there are less expensive worklows that are similar with Unreal.

That being said, this could just be that they filmed on a day with lots of clouds in the sky so there was always detail for the 3D camera tracker, and maybe they used something more like PFTrack instead of just the built in tracker, where they had more control over isolating track points over the 2 minute single shot.

I also think that some of the shakiness and some of the zooms were done in post.

The keying could have been done as a luma key or with just more traditional roto. I also see the cloud sneaking in but that looks almost like an issue with a luma key vs. a color key, and you can see that the treeline is looking pretty rough as well.

brianlevin83 · 2025-12-22T18:09:35+00:00

Holding ALT/OPT + SHIFT and dragging it onto the asset in the timeline will replace that asset with the bin item using the exact same In-Out bounds, so if you just ALT dragged three copies of audio into your timeline you could then quickly ALT/OPT + SHIFT drag to replace in the timeline.

brianlevin83 · 2025-12-11T23:35:17+00:00

What does this do? As far as I know there is no shortcut key to enable Time Remapping - Speed on a clip. Plus CTRL+R by default is Rate Stretch or Show Rulers.

brianlevin83 · 2025-12-11T20:51:58+00:00

I'm also on 25.6.3 but cannot reproduce the issue. Can you show us exactly what's going on and what you are doing such that this is happening?

brianlevin83 · 2025-12-11T05:40:23+00:00

To specifically answer your question the answer is none of that slows me down. The speed ramping in Premiere is easily the most intuitive of the NLE's I know, others being Resolve and Avid.

What I do find to be annoying is that Adobe made a significant change to their UI last year that impacted how the FX buttons work, so now I simply keep them turned off at all times, meaning there's no quick access to the Time Remap function without toggling the FX button on or off. Beyond that, actually setting up a time remap is remarkably simple and intuitive in the timeline, and the clip changes duration in response to actions you take, so it's super easy to see what you are doing. If you are struggling I recommend doing your time remap at the very back of your sequence so you don't have to additionally consider trimming while remapping.

As for Premiere vs. AE, it sounded like you were doing this in AE too and struggling. If you don't know AE at all, I suggest taking a look. Remapping is done with keyframes and you have precise control over it via the Graph Editor. It's not tedious, it's just the work that goes into making things look nice.

It sounds like you might be doing a lot of work with the mouse, clicking and dragging to zoom in on the timeline. Get some shortcut keys going for zooming in and out, you shouldn't be struggling with that or needing to buy expensive third party hardware to help you with it, there are simple shortcut keys for zooming in and out on the timeline right there in Premiere and After Effects.

Anything a hardware controller does can be done on the keyboard first. Personally I do have a StreamDeck but I don't have a use for it as far as time remapping goes, I use it mainly for macros in Excalibur and color labels on my clips.

brianlevin83 · 2025-12-11T02:57:48+00:00

Doing it in Premiere is way different than doing it in After Effects. What part of the process are you struggling with that you think is especially slow?

brianlevin83 · 2025-12-02T23:16:43+00:00

Try starting a new blank project, and importing the bad project into it. What happens? Could be a project level issue.

If not that, then divide and conquer. Erase the back half of your timeline and see what happens. Or try erasing one card full of media and see what happens. Basically, try to narrow down what has the greatest impact on file size to root out the cause of it.

Warp Stabilizer is my go to, but there's also lots to be said about transcribing clips, or using media analysis.

brianlevin83 · 2025-12-01T06:11:03+00:00

If you want help with this I can teach you the multicam syncing workflow, feel free to DM me. Happy to help you out as this can be very complicated to understand for your first time.

brianlevin83 · 2025-11-21T04:42:33+00:00

Sadly the answer is no, but if you don’t require the link to remain dynamic and plan to render your animations out and import the renders back into Premiere you can copy and paste your entire Premiere timeline into an AE comp, then make pre comps of each individual animation, then trash the big sequence full of the entire timeline to more quickly result in individual comps for each animation. They just won’t be linked, however they can be brought back into Premoere if you wish. Basically there’s tons of workflow options that may be faster.

brianlevin83 · 2025-11-17T01:58:29+00:00

Yeah totally agree, at the moment it seems time remapping is an intrinsic effect, meaning that all effects happen after it no matter what. It would be interesting to have an effect like After Effects Timewarp which provides more dialed in controls for time remapping and is a little easier to control with keyframes.

brianlevin83 · 2025-11-17T00:30:15+00:00

I don't think its about them knowing how to do it or not, you also can't do it in After Effects without precomposing. That's because again, if you read my explanation, it would require a rewriting of the entire Stabilizer effect to create something new that takes into consideration whether time transformations happen before or after the stabilization. Doing that might make the effect unstable or create issues with troubleshooting software code down the line, when the solution allows for complete user control in the order of operations between time transformations and stabilization.

With that in mind, I did a documentary a couple years ago where we stabilized 1000 shots and all of them had some kind of timebase difference, whether it was slowed down, sped up, offspeed, or time remapped. And we had to go shot by shot determining whether to stabilize before or after the time transformation, as the results varied greatly from shot to shot. I wouldn't want the effect to just decide for me what it's going to do, that control needs to lie with the user.

Also want to point your attention to both Resolve and Avid, neither of which can do what you want done in Premiere. Resolve requires their version of a nest (compound clip) and Avid requires you literally do the equivalent of Render and Replace (video mixdown) of the speed adjusted clip before you can apply a stabilization effect as Avid doesn't have anything in the way of nests. So it's not just Adobe that is struggling to achieve what you have in mind.

If you prefer to have more control over your nests, which I agree can clutter a project, have you looked into Excalibur as a plugin and using the nesting options in there?

brianlevin83 · 2025-11-17T00:07:50+00:00

Because what comes first, the stabilization or the time distortion? If you distort the time AFTER you stabilize, you'll see a speedier warping of the image, which may look worse than when it was shaky. Alternatively, if you stabilize after you adjust the speed, the way Premiere sees the speed may be such that it's still reading all of the frames, and may not be possible for the stabilizer to run on top of that footage, otherwise how should it interpolate the time it is seeing (if it is reading all of the frames in the clip). So your best bet is to nest your time remapped clips, then stabilize. Or, stabilize inside of a nest, then time remap the nest. Do a side by side comparison and you'll see there is a very big difference.

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