All language subtitles for DaVinci-Resolve-17-Edit-MulticamEditing

Hi, I'm Chris.

I'm an editor and a Blackmagic certified
master trainer.

And today we're going to look at
multi-camera editing in DaVinci Resolve.

So first of all,
I need to restore a project to archive,

which has the project
and all of the media associated with it.

So I'm going to right click in and empty
out of the project manager and choose

the Restore Project Archive option.

If you now navigate

to where you have downloaded
your multi-camera drive file

and then choose open the project manager

will restore the project
and also link the media in the archive.

Simply double click the project to open it

and resolve.

So we're going to do

two multi-camera editing exercises.

The first is going to be
a simple two camera interview.

The second will be a full on eight
camera music video shoot.

The first thing we need to do,
though, is to synchronize the footage

and make a special multi-camera clip.

So here in the timeline, I've

actually got some footage already edited,

and at this point here

I'm actually going to insert
a multi-camera interview.

But to begin with, I actually need
to create a multi-camera clip.

So first thing I'm going to do
is come to the media pool

and find the citizen change
interviews. Bin.

If I select that, I've got two clips here,

both angles of a multi-camera interview.

So to begin with,
what I'm actually going to do is just add

these two clips
to a standard regular timeline.

Select
both of the clips in the media pool.

Then right click any of them and choose.

Create new timeline using selected clips.

I'm just going to rename the timeline.

We'll call this Sacha

Sync and then I'm going to choose Create.

Now, at

this point, the shots are sequentially
in the timeline, one after the other.

So what I now need to do
is put one on top of the other clip

and then get resolved to synchronize
the two clips together.

I'm going to select the second clip
in this timeline

and move it up to the second video track.

And you can see that the audio also moves
to the second audio track.

I'm going to select
both of those clips in the timeline.

Then right click either of them and choose
auto Align clips.

Now, there are two ways that you can auto
align clips in the timeline.

You could either use the timecode
this matching

across the two shots
or you can use the waveform

because I don't have matching timecode
on these clips.

I'm actually
just going to use the waveform,

so I'm going to choose
the option based on waveform.

The two

clips actually get synchronized very well
and you can see

just by looking at the waveform displays
how the the waveforms

and matching up across the two clips.

Now now I've got the clips
synchronized in the timeline.

I now need to actually create
a multi-camera clip from the timeline,

and you can actually create
a multi-camera clip

either from a regular timeline
or from a compound clip.

So I'm going to locate the timeline
in the media pool, right click on it,

and then choose the option, convert
timeline

to multicam clip.

This closes the timeline down
because now it's no longer a timeline.

It's technically a multi-camera clip.

And if I use the media preview here,
you can see that

I can actually preview the multi-camera
clip directly in the Source viewer.

The two clips are actually labeled Video
one and Video two,

because those are the actual names
of the tracks that we actually place

those two clips on in the timeline
before we created the multi-camera clip.

Now that I've got the clips
synchronized, I'm

going to open it in the source future
by double clicking it.

And then I just simply mark
the range of the clip that I need,

just like any other regular clip.

And the name Citizen Change,

that is the brainchild of my partner.

He named the shop.

I was a big fan of Orson Welles.

I had done several projects on him
going through school and stuff like that,

so I appreciated the pun and the play
on the word Citizen Kane, Citizen Kane.

And then only after we name the Shop
by a certain course of events,

we found
out that Rosebud was really a bicycle.

The inspiration for Rosebud as a sled

was a bicycle
that the screen writer had as a child.

So that's actually marked the story
that Sacha has about naming the shop.

Once I've got the clip marked,
I'm just going to simply perform

a regular insert edit

Now that I've got the clip
in the timeline, I need to fine tune

the interview.

This is taking out parts of the interview
that I don't really need

and just tightening the story up
just so it flows a little better,

just so I can streamline
the interface slightly

so that it allows me
to focus on the interview.

I'm actually just going to hide
the media pool.

Then in the timeline,
I'm just going to play the interview.

I was a big fan of Orson Welles.

I had done several projects on him

going through school and stuff like that,
so I appreciate.

Well, I don't think we need to know
exactly why he's a big fan of Orson Welles

and the fact that he's done
some projects on him in school.

Just the fact that he's a big fan of Orson
Welles, I think is more than enough.

So let's take some of this interview out.

I was a big fan of Orson Welles. I

that's the beginning of his next line.

I'm going to go to my blade
edit mode by pressing B on my keyboard,

come down to the timeline
and click to make an edit point.

I had done several projects on him
going through school and stuff like that,

so I appreciate what.

So now I'm finding the beginning
of the next phrase where he says so

and again I'll use the blade
edit mode to at the edit point

going into selection
edit mode to select that pressing shift

backspace
in order to form a repo delete file.

Now use the forward slash key.

I was a big fan of Orson Welles
so I appreciated the pun.

And now that probably needs
a little bit of trimming,

but I'm going to come back to that.

I'm actually just going to get
the interview all sort of trimmed up

so that we're focusing
just on the main parts of the story.

So I'm going to continue playing the clip,

listening for the next piece of interview
that I want to remove.

So I appreciated the pun
and the play on the word

Citizen Kane, Citizen Shane and then and.

That was a big there,
which is a little bit off

putting
so I can tidy that up by removing that.

And in this case I'm
just going to set an endpoint just before

that piece of waveform

jog forward

until after he finishes
and then setting out point.

So using the in in the points here
instead of the blade edit mode

just makes things a little bit tidier
and a little bit easier.

I don't need to keep swapping
in and out of different timeline modes.

Shift Backspace will ripple.

Delete that clip out,
hit the forward slash key.

In Shane
and then only after we name the shop.

That's working. One more trim.

I think the.

Shop by certain course of events

we found
out that Rosebud was really a bicycle.

Certain course of events.

He doesn't really elaborate on what
those certain course of events were,

so we don't really need to know about it.

So let's take that section out.

And then only after we name the shop,

we found out
that Rosebud was really a bicycle.

So what we now have
is what we often refer to as a radio edit.

We actually have the interview
working fairly well.

You may want to go back
through the interview

and actually listen to the cuts
that you've made

just to make sure
you're happy with them more

and that the audio flows nicely from one
clip to the next.

I'm happy with most of those apart
from this first edit here,

so I'm going to go back to it
and use the detail.

Zoom button to zoom in.

Let's just preview
and listen to that again.

I was a big fan of Orson Welles,
so I appreciated the pun.

And so in the incoming shot, I'm actually
catching the end of the previous word.

I'm just going to remove that
by going into traumatic mode,

selecting the incoming side of the edit
and then using the period key

just to trim off one
frame of the incoming shot.

Let's listen to it again.

I was a big fan of Orson Welles,
so I appreciated the pun and.

Now I feel as I've taken too much off.

So let's just try and nudge that back
a couple of frames.

I was a big fan of Orson Welles,
so I appreciated the pun and.

I might have to lose the show
altogether, to be honest.

But this is all part of editing.

I'm just going to trim it forward
just to lose the.

So I was a big fan of Orson Welles.

I appreciated the pun and the plot.

That's fine.

Let's just trim off a couple more frames
and have a lesser.

Fan of Orson Welles.

I appreciated the pun and the play.

That's not too bad.

So now I have my radio edit working.

It's time
to actually use the different angles

that we have inside this multicam clip.

Let's go back into full extent zoom
so that we can see the multi-cam clip

and its entirety in the timeline.

At the moment, we're actually starting
on this medium wide shot here.

Was a big fan of Orson Welles.

I appreciated the pun and the play
on the word Citizen Kane, Citizen Kane.

And then so at this point, what I want on

this clip is I actually want to move
to the second camera angle.

If I right click on that clip,

you can see I have an option
to switch the multi-cam clip angle,

and then I get to choose
which of those two angles to choose from.

Let's just click video to.

A big fan of Orson Welles.

I appreciated the pun and the play
on the word Citizen Kane, Citizen Shane.

And then only after we name the shop,

we found out
that Rosebud was really a bicycle.

So I have the same problem on this clip
now so I can do the same again.

Right click
Choose Switch multi-cam clip angle too.

Video to do We name the shop.

We found out
that Rosebud was really a bicycle.

And you can see that
the interview actually cuts nice visually

because I'm switching
between the different angles.

I could

actually cut to a new angle at any point.

For example, if I move the play head to
this part of the interview and just play.

Play on the word citizen.

At this point, I want to go to
the wide shot where he says, Citizen Kane.

Citizen Kane.

So at this point
I can now add an edit point.

Previously we use the Blade

edit mode for this,
but if I just press command or control B,

that will add an edit
and allow me to switch this clip

to the first video angle.

Of Citizen Kane.

Citizen Kane.

But of course, now I've got a jump cut
to this because it's using the same angle,

so I'm going to select that right
click switch multi-cam angle video too.

And then of course,
I've got the same problem again.

We found that because now I've got a jump
cut between the two angles.

So I'm going to right
click switch multi-cam angle video one.

I was a big fan of Orson Welles.

I appreciated the pun and the play
on the word Citizen Kane, Citizen Kane.

And then only after we name

the shop, we found out
that Rosebud was really a bicycle.

You can also treat
all of these multicam clips

just like regular clips in the timeline.

If I go in to trim edit mode by pressing t
hold down the option

or okay to select the link
to video of the first clip, I can now

trim this in order to create a slight

split edit so if I'm creating a j cut

so that the audio comes
in slightly earlier than the video.

And again,
I can do a similar thing at the end here

in order
to create a split edit on the last clip.

I was a big fan of Orson Welles.

I appreciated the pun and the play
on the word Citizen Kane, Citizen Kane.

And then only after we name
the shop, we found out that Rosebud

was really a bicycle.

Now I've got the multicam clip
working quite well in the edit.

The last thing I need to do
is to flatten it.

What this will do is it will actually
give me back the original source clips

that were used to create the multicam clip
in the first place.

To flatten the multicam clip,
just simply select

all of the multicam clips
within your timeline.

Right click and choose Flatten

Multicam Clip.

What this does is it

actually removes
the multicam clips from your timeline

and actually leaves in place
the original source clips.

I was a big fan of Orson Welles.

I appreciated the pun
and the play on the word Citizen Kane.

Citizen Kane.

And then only after we name
the shop, we found out that Rosebud

was really a bicycle.

And that's an example

about how we can edit
a simple to camera interview.

However, not all multi-camera
edits are quite that straightforward.

Sometimes you're actually dealing
with many, many different camera angles.

So let's look at another example
about how we can cut a music video.

Let's begin by reopening the media pool

and selecting the miserable girl bin.

In this bin, we've actually got eight

different video
clips of a band performing on a stage.

We've also got an audio file,

which is the actual song
that they were performing to.

We're going to let resolve

synchronize these clips
and create the multi-camera clip.

But just before we do, it's
worth pointing something out.

You'll

notice that all of these clips
have a name Jbr oh one JBR

oh two JBR
oh three and so on and so forth.

If I select Jbr a one

and then access the file
tab in the inspector,

you'll see that this clip actually
has some metadata

to specifying that this was camera one.

However, if I select JBR

oh two and have a look in the file
inspector, you'll notice

that this is actually being given
camera number eight JBR

oh three is camera number two
and so on and so forth.

So just because the cameras are named
in a specific way

in terms of the file or the clip within
the project, doesn't necessarily mean

I can't apply additional metadata
information to each of those clips.

This helps me specify
the different camera numbers

and close the inspector.

And this time I'm actually going to right
click

on the miserable girl bin

and choose the option.

Create new multi-cam clip
using selected bin.

In this case,

it just means that I can select the bin
rather than having to select

all of the clips.

However,

if there are some clips in this bin,
you can just select them independently

and actually choose to create the
multi-cam clip from the selected clips.

When I choose this option, Resolve asks me

to create the multi-camera clip
and what settings it should use.

So here I'm actually going to change
the name of this multicam clip.

We'll call it Miserable Girl

Sync.

I often use
sync at the end of multicam clips

and it just helps to differentiate them
in the list view in the media pool

as to whether something is a timeline
or a multi-camera clip.

We leave the frame rate as it

is because that's the same frame
rate of the clips that I'm using.

But we're going to change the angle sync.

You'll notice that we can use endpoints,
our points,

TimeCode Sound or Mark as well.

We didn't add any in our points Mark
as to any of these clips,

so we can't use any of those in order
to be able to create an accurate sync.

Also,
these clips don't have timecode not all

cameras will record accurate timecode
that can be synched with other cameras.

So in this case
sound is actually the most reliable way

that we've got of synchronizing
these clips together.

So that's two sound from the angle

sync option from the angle name though
we're actually going to change

from sequential to metadata camera.

This means we're actually

using that camera metadata
that I've pointed out in order to be able

to choose the order of the cameras
and also, very importantly,

the name as those cameras appear
in the multicam clip viewer,

we can actually leave all of the other
options alone just for the moment.

However, it is worth pointing out
that there is this option

to move source clips
to an original clips bin.

Sometimes you don't want the source clips
to be moved to another bin,

so it's always worth just thinking about
whether you need that option on or off.

Let's click Create

and after a brief analysis,

resolve
will actually create a new multicam clip.

And also in the media pool

here, you can see that we've also now
got a new original clips bin

double

click the multicam clip
to open it into the source viewer.

And now we can do a quick sanity check
to see if all of these angles are in sync.

You know what?

It's not very good audio
because I'm actually listening

to the on camera audio from camera
angle one.

However, just by looking at the pictures,
I can see that

all of the performances
do seem to be in sync.

So the next thing I need is
I need a new timeline.

Let's select the timelines bin
and from the file menu,

choose new timeline.

I'm going to rename this timeline

Miserable girl edit

and then leave all of the other options
the same

because the defaults will work for this

and choose create.

Now I can edit the multicam clip

into this empty timeline
just like any other regular clip.

So I'm going to find
the start of the performance

and set an endpoint.

Using audio scrubbing is very useful

to be able to find the beginning
of that multi-camera clip.

However, I can always trim
it in the timeline anyway,

so I'm not too worried
about finding the exact point.

I'm just going to make an overwrite edit
for this clip,

just as you would normally do for any clip
and now I'm just going to hide

the media pool again
just to give me plenty of room

in the interface
to actually concentrate on this clip

and move the play
head back to the beginning.

So the first thing I want to do
is actually to choose the starting angle

and also the audio angle
that I actually want to work with.

And we can do that the same way
that we actually chose the different

video angles in the interview exercise
previously

in the timeline, I'm just going to right
click the picture and choose switch

multi-cam clip angle, and then
I can choose whichever angle that I want.

I'm going to choose camera for here
because I know that camera four

is actually the drummer and it's
actually a good angle from which to start.

Also, I'm going to right

click the audio clip and choose switch

multi-camera angle to camera music.

The audio file also actually had
some camera information in it

so that it's actually put this
in the correct place

and actually labeled it correctly.

So I'm not guessing as to
which angle is the actual music angle.

Looking at the waveform, I can also see
it's a little hot on the audio,

so I'm actually just going
to bring that down a little bit.

Just don't deafen myself
when I play this back.

Once I've got the two starting angles
set for both sound and picture

in the timeline, I'm
almost ready to do my multi-camera edit.

However,
one other thing that I want to do is

I now want to bring
the source viewer into play

so I can easily switch
between the different camera angles.

Also, I need to do

is come to this menu option in the bottom
left hand corner of the source viewer

and change the menu from source
to multicam

Down at the bottom

of the multicam viewer,
you can see that there are three options.

This will indicate
whether I'm cutting sound in picture.

Just sound or just picture.

In this case,
I just want to choose picture.

So now I've chosen what side
of the multicam I actually want to cut.

In this case, just picture.

I'm all ready to just hit play
and then to click on the angles

as I want them

would be.

Killer puts you in your place.

You get that front on your face.

But so far

I need to get to.

It's a

little confusing finding

in my few spots in the show. 500.

You just have a pretty good

shot from your phone.

But you're not happy until

you say three things.

But I'm not gonna

make you cry.

You're crying.

I take up all my time. All this.

So you want to try to look so

gorgeous.

So you've got

things

I can do, but

I'm not ready to give you away.

It's too late.

You just have a pretty

good shot.

Jeff.

Beautiful.

But you're not happy.

You say three things, but I'm not gonna.

So now we have it.

I've gone from the beginning
of the music video to the end, just simply

clicking on the different angles
that I want, as I want them.

Now, at this point,
you might think, Well, the job is done.

However, as I was going through that
and cutting between the different angles,

there were a few cuts
that I wasn't quite happy with.

So this is another important
part of multi-camera editing.

Whilst you could possibly go
through that music video

and cut it in real time
and be happy with the results

when you finished, simply
think of this as a rough cut.

This isn't live television after all.

It means that we can always go back
and we can always make changes.

And this means that whoever's
watching this at the end

doesn't necessarily
need to see the creative decisions

that you've actually gone
through to achieve the end result.

Let's go back through this multicam clip
and let's see if there's

any changes that we can make.

Here that puts you in your place.

You can't stop that from your face person.

Well, at that point,
they're on that outgoing shot.

We lost the focus slightly
before we cut the next shot.

So so what I would want to do here
is actually to probably roll the edit back

a little bit in order to cover that slight
slip of the focus.

So let's go into detail Zoom view

in order to be able to see that edit
quite clearly.

I'm not going to click
and hold on the edit and move it backwards

and forwards
in order to be able to roll the edit

into a new position
to cover that slight slip of the focus.

I don't need to be in traumatic mode

in order to make a change like this
to a multicam clip.

And actually for most multicam
edits, you're probably want to stay away

from traumatic mode.

You certainly don't

want to rip or slip the clips
because that will actually break the sync.

So I think I'm happy with the new position
for that.

Edit I'm going to hit the forward
slash key to preview it.

You can start with that
front of your face, but so now that works.

And I'm happy that I've just covered up
that slight slip of the of the focus.

However, this wide shot of the singer
actually now stays on for a little bit

too long.

So what I might want to do
is actually cut to a different angle.

I'm just going to play through the clip

until I find the point
where I want to cut from on your face.

Well, it would probably be useful
to actually cut to the drone

at this point here
because there's a symbol smash.

So with the play head actually parked
on the frame where I want to make the cut,

I'm now going to come up
to the multicam source viewer.

And you'll notice when I bring my mouse
over the clip in the source viewer

for the appropriate angle

and actually gives me a little razorblade
icon to indicate that I'm going to cut.

If I now click on that clip,
you'll now notice

that I've now got a new cut
within that existing multicam clip.

That's probably no place to look so far.

So you can see just how easy it is now

to actually go through
and actually add additional edit points.

However, looking at the timeline now,
I've noticed that the following clip

is actually the same
drama shot, thankfully,

because this is a through edit
as indicated by the dotted lines.

Also I need to do is selected
and then hit the delete or backspace key

in order to be able to remove that
through. Edit

that actually has now joined
that clip together.

Let's go through and choose a new angle.

So far.

I think it'd be useful
to see the guitarist

at this point.

So far

I need to get to.

And I think we should go back to
the singer as well for that second line.

I need to get

a Choose camera angle to.

I need to get shot.

Well, you'll notice

on that camera angle
that I've just chose, it's quite nice.

However, you'll notice that the framing
has now gone a little bit wrong.

So the talent is moving
in front of the camera.

And of course, the cameraman
is finding it difficult to keep up.

So you say, Oh,

of course I could actually cover that
with another shot.

But the other thing
that you can do with multi-camera clips

is you can actually switch
between the different angles,

and that's just as easy to do
as making a cut.

I'm just going to park the play

head over the multi-cam angle,
but I actually want to switch.

I'm going to go with a wide shot
of the whole band here.

So camera angle number eight.

Now if I just simply click on this angle,
it will actually add an edit point.

However,
if I hold down the option or the alt key

when I actually look at the mouse,
you'll now see it's

actually switched
into what appears to be a replace.

Edit symbol.

And what this will do is it
will just simply switch the entire angle.

Very similar to we did on the interview
in the first exercise.

So just simply now
holding down the optional all key

and clicking on the angle will switch the
entire angle on the timeline

is Let's go back

to the drama for that little report.

It's a little bit confusing

in my view.

So now you can see all that we need to do
is just work back through the multicam.

Edit adding edit points
and actually rolling edit points,

switching angles and carrying on cutting.

In the show 500 plus

cut right.

How to make,

how to you just

you just another pretty good

shot from that

you just another pretty good

question

from your phone.

I hope you found this video to be useful
in helping

you edit your multi-camera footage
in DaVinci Resolve.

Don't forget,
if you've got any further questions,

you can always join us on our forum pages
where questions are answered

on a daily basis.

And don't forget,
if you look at The DaVinci Resolve

product pages,
there's a whole section on training

where there are freely available training
videos and training books for you to use.

Thank you very much.