CHRIS ROBERTS: Hi, I'm Chris. I'm an editor and a Blackmagic certified master trainer. And today, we're going to look at multicamera editing in DaVinci Resolve. So first of all, I need to restore a project archive which has the project and all of the media associated with it. So I'm going to right click in an empty area of the project manager and choose the Restore Project Archive option. If you now navigate to where you have downloaded your multicamera.dra 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 in Resolve. So we're going to do two multicamera 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 multicamera 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 multicamera interview. But to begin with, I actually need to create the multicamera clip. So first thing I'm going to do is come to the Media Pool and find the Citizen Chain Interviews bin. If I select that, I've got two clips here, both angles of a multicamera 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 Sasha Sync. And then I'm going to choose Create. Now at this point, the shots are sequential 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 Resolve 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 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 that's 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 waveforms are matching up across the two clips. Now that I've got the clips synchronized in the timeline, I now need to actually create a multicamera clip from the timeline. And you can actually create a multicamera 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 multicamera clip. And if I use the media preview here, you can see that I can actually preview the multicamera 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 multicamera clip. Now that I've got the clip synchronized. I'm going to open it in the source viewer by double clicking it. And then I just simply mark the range of the clip that I need, just like any other regular clip. [VIDEO PLAYBACK] - And the name Citizen Chain is? - 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 of Citizen Kane, Citizen Chain. And then only after we named the shop, by 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 screenwriter had as a child. [END PLAYBACK] CHRIS ROBERTS: So that's actually marked the story that Sasha 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. [VIDEO PLAYBACK] - 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-- [END PLAYBACK] CHRIS ROBERTS: 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. [VIDEO PLAYBACK] - I was a big fan of Orson Welles. [END PLAYBACK] CHRIS ROBERTS: 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. [VIDEO PLAYBACK] - I had done several projects on him going through school and stuff like that, so I appreciate the-- [END PLAYBACK] CHRIS ROBERTS: 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 add the edit point going into selection edit mode to select that, pressing Shift-Backspace in order to perform a ripple delete. If I now use the forward slash key. [VIDEO PLAYBACK] - I was a big fan of Orson Welles, so I appreciated the pun. [END PLAYBACK] CHRIS ROBERTS: 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 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. [VIDEO PLAYBACK] - So I appreciated the pun and the play on the word of Citizen Kane, Citizen Chain. And then-- [END PLAYBACK] CHRIS ROBERTS: Now there's a big ah there, which is a little bit off putting. So I can tidy that up by removing that ah. 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 set an out point. So using in and the out 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. [VIDEO PLAYBACK] - And then only after we named the shop-- [END PLAYBACK] CHRIS ROBERTS: That's working. One more trim, I think. [VIDEO PLAYBACK] - By certain course of events, we found out that Rosebud was really a bicycle. [END PLAYBACK] CHRIS ROBERTS: 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. [VIDEO PLAYBACK] - And then only after we named the shop, we found out that Rosebud was really a bicycle. [END PLAYBACK] CHRIS ROBERTS: 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 all, 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 there. Let's just preview and listen to that again. [VIDEO PLAYBACK] - I was a big fan of Orson Welles, so I appreciated the pun. [END PLAYBACK] CHRIS ROBERTS: 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 trim edit mode, selecting the incoming side of the edit, and then using the period key just to trim off one frame off that incoming shot. Let's listen to it again. [VIDEO PLAYBACK] - I was a big fan of Orson Welles, so I appreciated the pun, and-- [END PLAYBACK] CHRIS ROBERTS: Now I feel as though I've taken too much off, so let's just try and nudge that back a couple of frames. [VIDEO PLAYBACK] - I was a big fan of Orson Welles, and so I appreciated the pun. [END PLAYBACK] CHRIS ROBERTS: I might have to lose the so altogether, to be honest. But this is all part of editing. I'm just going to trim it forward just to lose the so. [VIDEO PLAYBACK] - I was a big fan of Orson Welles. I appreciated the pun and the play-- [END PLAYBACK] CHRIS ROBERTS: That's fine. Let's just trim off a couple more frames and have a listen. [VIDEO PLAYBACK] - --fan of Orson Welles. I appreciated the pun and the-- [END PLAYBACK] CHRIS ROBERTS: 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 multicam clip in its entirety in the timeline. At the moment, we're actually starting on this medium wide shot here. [VIDEO PLAYBACK] - Was a big fan of Orson Welles. I appreciated the pun and the play on the word of Citizen Kane, Citizen Chain. [END PLAYBACK] CHRIS ROBERTS: 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 multicam clip angle. And then I get to choose which of those two angles to choose from. Let's just click video two. [VIDEO PLAYBACK] - A big fan of Orson Welles, I appreciated the pun and the play on the word of Citizen Kane, Citizen Chain. And then only after we named the shop, we found out that Rosebud was really a bicycle. [END PLAYBACK] CHRIS ROBERTS: So I have the same problem on this clip now, so I can do the same again. Right click, choose switch multicam clip angle to video two. [VIDEO PLAYBACK] - After we named the shop, we found out that Rosebud was really a bicycle. [END PLAYBACK] CHRIS ROBERTS: And you can see that the interview actually cuts nicer 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 playhead to this part of the interview and just play. [VIDEO PLAYBACK] - Play on the word of Citizen-- [END PLAYBACK] CHRIS ROBERTS: At this point, I want to go to the wide shot where he says, Citizen Kane, Citizen Chain. So at this point, I can now add an edit point. Previously we used 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. [VIDEO PLAYBACK] - Of Citizen Kane, Citizen Chain. [END PLAYBACK] CHRIS ROBERTS: 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 multicam angle, video two. And then, of course, I've got the same problem again because now I've got a jump cut between the two angles. So I'm going to right click, switch multicam angle, video one. [VIDEO PLAYBACK] - I was a big fan of Orson Welles. I appreciated the pun and the play on the word of Citizen Kane, Citizen Chain. And then only after we named the shop, we found out that Rosebud was really a bicycle. [END PLAYBACK] CHRIS ROBERTS: You can also treat all of these multicam clips just like regular clips in the timeline. If I go into trim edit mode by pressing T, hold down the Option or Alt key to select the linked video of the first clip, I can now trim this in order to create a slight split edit, so that 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. [VIDEO PLAYBACK] - I was a big fan of Orson Welles. I appreciated the pun and the play on the word of Citizen Kane, Citizen Chain. And then only after we named the shop, we found out that Rosebud was really a bicycle. [END PLAYBACK] CHRIS ROBERTS: 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. [VIDEO PLAYBACK] - I was a big fan of Orson Welles. I appreciated the pun and the play on the word of Citizen Kane, Citizen Chain. And then only after we named the shop, we found out that Rosebud was really a bicycle. [END PLAYBACK] CHRIS ROBERTS: And that's an example about how we can edit a simple two camera interview. However, not all multicamera 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 multicamera clip, but just before we do, it's worth pointing something out. You'll notice that all of these clips have a name, JBR_01, JBR_02, JBR_03, and so on and so forth. If I select JBR_01 and then access the File tab in the inspector, you'll see that this clip actually has some metadata specifying that this was camera one. However, if I select JBR_02 and have a look in the file inspector, you'll notice that this has actually been given camera number eight, JBR_03 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. I'm going to close the inspector, and this time I'm actually going to right click on the Miserable Girl bin and choose the option Create New Multicam 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 multicam clip from the selected clips. When I choose this option, Resolve asks me to create the multicamera 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 multicamera 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 in points, out points, timecode, sound, or markers. Well, we didn't add any in, out points, markers 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 time code. Not all cameras will record accurate time code that can be synced with other cameras. So in this case, sound is actually the most reliable way that we've got of synchronizing these clips together. So let's choose 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 me 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. [VIDEO PLAYBACK] [MUSIC PLAYING] [END PLAYBACK] CHRIS ROBERTS: Well, it's not very good audio because I'm actually listening to 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 multicamera 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 playhead 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 Multicam Clip Angle, and then I can choose whichever angle that I want. I'm going to choose camera four 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 Multicamera 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 that 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 so that I 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 multicamera edit. However, one other thing that I want to do is I now want to bring the source viewer into play so that I can easily switch between the different camera angles. All 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 and 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. [VIDEO PLAYBACK] ["MISERABLE GIRL" PLAYING] (SINGING) You won't be happy till I put you in your place You can't smile with that frown on your face But you look so fine I need to get you in line You say you want love But I think that you're confused All you really need is my neglecting, my abuse But you look so fine I need to make you mine You're just another pretty girl with something to prove and nothing to lose Yes, you're beautiful But you're not happy until you're miserable. You say sweet things, but I'm not gullible You're crying, you're crying You take up all my time All of your fits are just to show you want to try But you look so fine Girl, you're so divine Controlling, controlling Which one do you want? I can do both, but it's never enough I'm lonely each day, but you're stuck in your ways It's too late You're just another pretty girl with something to prove and nothing to lose Yes, you're beautiful But you're not happy until you're miserable You say sweet things, but I'm not gullible [END PLAYBACK] CHRIS ROBERTS: So there 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 multicamera editing. Whilst you could possibly go through that music video and cut it in real time and be happy with the results when you've 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. Now, 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. [VIDEO PLAYBACK] ["MISERABLE GIRL" PLAYING] (SINGING) You won't be happy till I put you in your place You can't smile with that frown on your face But you look-- [END PLAYBACK] CHRIS ROBERTS: Well, at that point there on that outgoing shot, we lost the focus slightly before we cut to the next shot. 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 now 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 trim edit mode in order to make a change like this to a multicam clip. And actually, for most multicam edits, you probably want to stay away from trim edit mode. You certainly don't want to ripple 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. [VIDEO PLAYBACK] (SINGING) You can't smile with that frown on your face, but you look so-- [END PLAYBACK] CHRIS ROBERTS: Now that works, and I'm happy that I've just covered up that slight slip 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. Well, it would probably be useful to actually cut to the drummer at this point here because there's a cymbal smash. So with the playhead 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, it actually gives me a little razor blade 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. [VIDEO PLAYBACK] (SINGING) With that frown on your face, but you look so fine [END PLAYBACK] CHRIS ROBERTS: 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 drummer shot. Thankfully, because this is a through edit, as indicated by the dotted lines, all I need to do is select it 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. I think it'd be useful to see the guitarist at this point. [VIDEO PLAYBACK] (SINGING) But you look so fine I need to get you-- [END PLAYBACK] CHRIS ROBERTS: And I think we should go back to the singer as well. For that second line Let's choose camera angle two. [VIDEO PLAYBACK] (SINGING) I need to get you in line [END PLAYBACK] CHRIS ROBERTS: 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. Of course, I could actually cover that with another shot. But the other thing that you can do with multicamera 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 playhead over the multicam angle that 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 what we did on the interview in the first exercise. So just simply now holding down the Option or Alt key and clicking on the angle will switch the entire angle on the timeline. let's go back to the drummer for that little ripple. [VIDEO PLAYBACK] ["MISERABLE GIRL" PLAYING] (SINGING) You say you want love, but I think that you're confused All you really need is my neglecting, my abuse [END PLAYBACK] CHRIS ROBERTS: So now you can see. All that we need to do is just work back through the multicam edit, add in edit points, and actually roll in edit points, switching angles, and carrying on cutting. [VIDEO PLAYBACK] (SINGING) But you look so fine I need to make-- I need to make you mine I need to make you-- I need to make you mine You're just another pretty girl with something to prove and-- You're just another pretty girl with something to prove and nothing to lose Yes, you're beautiful [END PLAYBACK] CHRIS ROBERTS: I hope you found this video to be useful in helping you edit your multicamera 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.