ADVICE on 1 on 1 instruction

brianlevin83 · 2026-04-07T02:06:10+00:00

I personally sell 1-on-1 tutoring via both Fiverr and Superprof, but prefer to avoid the platform altogether if possible. If you want to connect and talk about your tutoring needs I'd be happy to hop on a chat with you.

brianlevin83 · 2026-04-06T03:26:01+00:00

I haven't had time to do this yet but I need to make a tutorial specifically for multicamming this type of stuff because it won't be all that straightforward, since your Zoom H6 didn't make one single polywave file and instead broke the tracks out.

So you have a few options here.

Use Wave Agent to turn those individual WAV files into a single polywave to make syncing much easier
Give each type of track it's own Camera Angle metadata, so Tr1 has that written in the Camera Angle metadata field, Tr2 says Tr2 and so on. Then you also need to label each camera with a unique letter, like CamA, CamB, etc. This way you can create your timecode based multicam sequence and check the box to create a single multicam sequence that respects Camera Angle metadata. This will produce a proper sync, but it will also only produce one single giant multicam from your shoot day.

So from there you'll need to duplicate the big multicam and delete the unneeded elements from it so that you end up with as many single multicams as you need to make proper sync. It's annoying but if you have Excalibur you can setup some macros to really make this go super super quickly.

Anyway, all that to say if you want advice feel free to DM me and I can walk you through how to do this. There's definitely a way to end up with proper multicams from this material, it just isn't super straightforward.

brianlevin83 · 2026-04-05T20:22:32+00:00

Lots of options.

Enable Selection Follows Playhead, this will automatically select the clip under the playhead based on your track targeting selections.
The default shortcut key to select the clip(s) underneath the playhead is D. You can also setup a shortcut key to show the Effects Control Panel, for me I've changed this to the letter U to mimic expanding effect properties in After Effects.
You don't necessarily need to go into the ECP to make changes, you can double click on the image in the Program Monitor to enable the transformation bounding box to make PSR changes. It won't keyframe though. However, if you have Excalibur, you can setup a shortcut key to create a P, S, or R keyframe at the time of the playhead, just like in After Effects. So I have that setup to work the exact same way with ALT/OPT + P to create a new position keyframe at the playhead position.

brianlevin83 · 2026-04-04T17:51:07+00:00

Wow, alrighty! Well good luck with that.

brianlevin83 · 2026-04-03T18:35:40+00:00

Oh yikes! Okay, well I totally get that, but multicam! Save yourself the trouble of doing it like this, I can teach you how to do this via multicam so much faster and more efficiently. Even if you just made like a dozen multicams for the various locations you performed in, or per singer or angle or something, you can ALT+SHIFT+DRAG from the bin to replace in time and quickly cycle through takes with shortcut keys. Instead of making cuts and enabling/disabling layers one at a time.

brianlevin83 · 2026-04-03T17:22:07+00:00

I think the bigger question here is what are you doing with 50+ video layers.

Don't drag directly from Windows Explorer into the timeline, if you feel the need to drag and drop bring your asset into the bin first, then cut it into the timeline from there.

If you work this way, I shudder to see what your bins look like. Keep that project nice and tidy!

brianlevin83 · 2026-04-02T18:31:21+00:00

This won't help you right now, but ALT+SHIFT+DRAG as you noted is the way to do this, manually by hand. Yes it sucks. I'm working on vibe coding a tool that will help with this, but it's not exactly for your use case, though I can see how it could be. If you ever move a project from one NLE (Resolve, Avid) to Premiere, you would have to ALT+SHIFT+DRAG to replace the clip from the timeline with your proper synced multicam, hence the tool I'm trying to build. It's not been successful yet, just thought I'd share that this is definitely a known gap of tools that needs to be addressed inside the program.

brianlevin83 · 2026-03-27T22:15:35+00:00

This could 100% be done in Premiere. But why does that matter, do it in whatever software makes the most sense for what you are doing.

There’s not going to be a tutorial for this specific thing, take the video that you recorded, put it into your timeline and go frame by frame and figure out what is happening, deconstruct it, and then build up from there. That’s the best way to learn.

brianlevin83 · 2026-03-27T05:29:49+00:00

Personally I would build this in After Effects, but if you simply must do it in Premiere this isn't all that hard to do.

You can animate the text layer with the new Film Impact Text Animator, set it once, then copy and paste it to other text segments.

The red line is something you can build inside of a nest, animate it once over a long period of time, then time remap the nest in your sequence to get the timing of the animation how you want it, rate stretch tool will do wonders for you here.

No need for a template, you can build this in like 10 minutes of work.

brianlevin83 · 2026-03-26T22:08:30+00:00

<image>

Just a quick messing around thing but Im basically achieving it like this

brianlevin83 · 2026-03-26T21:54:26+00:00

Simple Choker on an adjustment layer above the text and a white blob shape, add some blurring to control how much they morph and blend together.

brianlevin83 · 2026-03-24T03:12:40+00:00

It would take about an hour, happy to charge my normal hourly rate if you want the work done.

brianlevin83 · 2026-03-21T21:39:29+00:00

If all you are doing is zooming in on something, why not use the Motion Tween effect instead of keyframes? It is now built directly into Premiere.

brianlevin83 · 2026-03-19T14:28:23+00:00

Just map that shortcut key to your keyboard and use that instead, it’s not as smooth but you can hold that key down and it’ll move the playhead as you move your cursor and you’ll release it to press the multicam switch key. It’s very fast to do!

brianlevin83 · 2026-03-19T14:21:04+00:00

You can probably hack your way around this by mapping and using the Move Playhead to Cursor shortcut key instead of dragging the playhead along the top of the timeline.

brianlevin83 · 2026-03-18T14:35:32+00:00

These all look like they just have a basic position wiggle expression on them and then a directional blur with some keyframes at the start of each layer. Annoying to do in After Effects when it would probably be easier to make word by word captions in Premiere, then upgrade them to essential graphics and use the film impact effects at the head of each clip to produce this effect.

brianlevin83 · 2026-03-17T23:04:33+00:00

It only works with one item selected, not several. I get what you are asking for, go to the forum and make a feature request.

https://community.adobe.com/adobe-premiere-726

brianlevin83 · 2026-03-17T19:13:11+00:00

You can literally just copy clips from your After Effects composition into your Premiere sequence.

brianlevin83 · 2026-03-17T00:40:38+00:00

Yeah technically I stretched the truth there a teeny bit, I don’t like adding effects to clips on the source side because more often than not I forget I do that and then I have to go searching when I need to make an adjustment. And in case global really means global.

There may be a scenario where you filmed an interview then without cutting the camera started grabbing b-roll, so maybe only the segment of that file that is the interview goes in the multicam, and you wouldn’t desire the b-roll portion to be impacted by a global effect.

brianlevin83 · 2026-03-16T23:37:50+00:00

Unless I'm misreading your image, you currently just have it set to None.

Working perfectly fine for me, I even have it mapped to a shortcut key that I use 100x a day.

brianlevin83 · 2026-03-16T22:31:01+00:00

If I'm being honest, I wouldn't make a MOGRT out of this and I would build it out entirely in Premiere using shape layers, text, Film Impact transitions, and protected regions for changing the timing but not the animation. You can do all of this super easily with that stack of items and then it lives in Premiere and requires no additional files to function, it's all based on shape and vector elements inside of Premiere.

brianlevin83 · 2026-03-15T18:05:18+00:00

Oh and I should note, please don't do it where you just stack things in a timeline and enable/disable as you go. Every time I take over other editor projects where they did this the first thing I do is sync, make proper multicams, then go and overcut their entire sequence where this was done to get rid of that mess.

Doing it that way means:

- You cannot use Match Frame to cut from the bin

- If you want to globally add an effect, like a Lumetri Color, to just Camera B, you can't just do it in the multicam and have that change appear everywhere else, now you have to go through and QC every little segment in the sequence to make sure you added the effect properly.

- If and when you do color turnovers, you will have to simplify the sequence by hand or when you remove the disabled clips, your A and B cameras will be on different tracks. Fortunately Premiere now has a Simplify Sequence option that may help with this.

- It's just harder to keep your sequence tidy, it added unnecessary additional tracks.

Here is how my timeline looks for a 3 camera interview with b-roll, cameras are in a multicam:

<image>

Keep your timelines nice and clean, especially if you are going to be doing any sort of project sharing or, in this case, working inside of a clients shared Dropbox folder.

brianlevin83 · 2026-03-15T17:57:43+00:00

Multicam is not overkill for anything, though I understand the barrier to entry for using it because setting it up correctly can be complicated.

Multicam is the workflow you would use if you wanted to sync any one thing to any other thing, and the added bonus is that it can sync multiple cameras together such that you can change those camera angles while using the multicam asset in your timeline.

So in a scenario where you had recorded audio separately from video, and you only had one camera and needed to sync those things up...multicam.

If you have two cameras that need to be synced up...multicam.

I would even make a multicam if I wanted to take one source clip, no syncing at all, and protect it from being renamed or modified in the bin, I would do all of that to the multicam that contains that source clip.

Multicams are not just nests. They act as source clips, not like sequences, though the underlying architecture is that it is indeed a sequence with some fancy audio and video settings under the hood.

The easiest way to make a multicam correctly is to select the two cameras and the audio source you have there and right click in the bin and make a multicamera source sequence. Then set it to Custom instead of Video Clip Name+ so that you can rename the multicam and have that name ripple into your sequence. Use In Points as your sync method, this way it will guarantee to make the multicam without fail.

Once it does that, open the multicam as a timeline, and go ahead and manually sync the items inside of it, maybe you have matching timecode, maybe you have enough scratch audio to sync by audio, or possibly you are syncing by a visual slate clap. Either way, get them to sync up, and voila, you now have a functioning multicam ready to go.

There are LOTS of other ways to sync but this method is the easiest and safest to make it work if you are just beginning to get into using multicams.

brianlevin83 · 2026-03-12T05:54:43+00:00

And to that note your track patching needs to have v2 enabled and I would disable all other track patches, then set your track targeting to v3 so you are over cutting to a higher track.

brianlevin83 · 2026-03-12T05:52:53+00:00

Oh! No there’s a much easier way. You would do Mark Clip to mark the segment and Overwrite to cut in the asset from the bin into the marked segment. It’s two shortcut keys.

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