WEBVTT 00:00:00.000 --> 00:00:03.590 00:00:03.590 --> 00:00:04.830 CHRIS ROBERTS: Hi, I'm Chris. 00:00:04.830 --> 00:00:08.070 I'm an editor and a Blackmagic certified master trainer. 00:00:08.070 --> 00:00:10.190 And today, we're going to look at multicamera 00:00:10.190 --> 00:00:12.650 editing in DaVinci Resolve. 00:00:12.650 --> 00:00:16.370 So first of all, I need to restore a project archive which 00:00:16.370 --> 00:00:19.342 has the project and all of the media associated with it. 00:00:19.342 --> 00:00:21.800 So I'm going to right click in an empty area of the project 00:00:21.800 --> 00:00:25.870 manager and choose the Restore Project Archive option. 00:00:25.870 --> 00:00:28.520 00:00:28.520 --> 00:00:31.460 If you now navigate to where you have downloaded 00:00:31.460 --> 00:00:36.510 your multicamera.dra file and then choose Open, 00:00:36.510 --> 00:00:39.200 the project manager will restore the project 00:00:39.200 --> 00:00:42.710 and also link the media in the archive. 00:00:42.710 --> 00:00:45.820 Simply double click the project to open it in Resolve. 00:00:45.820 --> 00:00:49.940 00:00:49.940 --> 00:00:53.730 So we're going to do two multicamera editing exercises. 00:00:53.730 --> 00:00:57.540 The first is going to be a simple two camera interview. 00:00:57.540 --> 00:01:02.070 The second will be a full-on eight camera music video shoot. 00:01:02.070 --> 00:01:04.170 The first thing we need to do, though, 00:01:04.170 --> 00:01:07.850 is to synchronize the footage and make a special multicamera 00:01:07.850 --> 00:01:09.230 clip. 00:01:09.230 --> 00:01:11.630 So here in the timeline, I've actually 00:01:11.630 --> 00:01:15.410 got some footage already edited. 00:01:15.410 --> 00:01:18.170 And at this point here, I'm actually 00:01:18.170 --> 00:01:20.970 going to insert a multicamera interview. 00:01:20.970 --> 00:01:22.610 But to begin with, I actually need 00:01:22.610 --> 00:01:25.010 to create the multicamera clip. 00:01:25.010 --> 00:01:28.950 So first thing I'm going to do is come to the Media Pool 00:01:28.950 --> 00:01:33.500 and find the Citizen Chain Interviews bin. 00:01:33.500 --> 00:01:36.540 If I select that, I've got two clips here, 00:01:36.540 --> 00:01:40.250 both angles of a multicamera interview. 00:01:40.250 --> 00:01:42.530 So to begin with, what I'm actually going to do 00:01:42.530 --> 00:01:47.660 is just add these two clips to a standard regular timeline. 00:01:47.660 --> 00:01:50.540 Select both of the clips in the Media Pool, then 00:01:50.540 --> 00:01:55.010 right click any of them and choose Create New Timeline 00:01:55.010 --> 00:01:56.740 Using Selected Clips. 00:01:56.740 --> 00:01:59.540 00:01:59.540 --> 00:02:01.790 I'm just going to rename the timeline. 00:02:01.790 --> 00:02:05.600 We'll call this Sasha Sync. 00:02:05.600 --> 00:02:08.090 And then I'm going to choose Create. 00:02:08.090 --> 00:02:11.480 Now at this point, the shots are sequential in the timeline, one 00:02:11.480 --> 00:02:12.390 after the other. 00:02:12.390 --> 00:02:15.480 So what I now need to do is put one on top of the other clip, 00:02:15.480 --> 00:02:17.390 and then get Resolve to synchronize the two 00:02:17.390 --> 00:02:18.733 clips together. 00:02:18.733 --> 00:02:20.900 I'm going to select the second clip in this timeline 00:02:20.900 --> 00:02:22.920 and move it up to the second video track. 00:02:22.920 --> 00:02:26.490 And you see that the audio also moves to the second audio track. 00:02:26.490 --> 00:02:29.490 I'm going to select both of those clips in the timeline, 00:02:29.490 --> 00:02:35.030 then right click either of them and choose Auto Align Clips. 00:02:35.030 --> 00:02:37.040 Now there are two ways that you can auto align 00:02:37.040 --> 00:02:38.310 clips in the timeline. 00:02:38.310 --> 00:02:40.610 You could either use the timecode 00:02:40.610 --> 00:02:42.690 that's matching across the two shots, 00:02:42.690 --> 00:02:44.400 or you can use the waveform. 00:02:44.400 --> 00:02:47.550 Because I don't have matching timecode on these clips, 00:02:47.550 --> 00:02:50.120 I'm actually just going to use the waveform. 00:02:50.120 --> 00:02:54.530 So I'm going to choose the option based on waveform. 00:02:54.530 --> 00:02:57.570 The two clips actually get synchronized very well. 00:02:57.570 --> 00:03:00.980 And you can see just by looking at the waveform displays 00:03:00.980 --> 00:03:05.570 how the waveforms are matching up across the two clips. 00:03:05.570 --> 00:03:08.610 Now that I've got the clips synchronized in the timeline, 00:03:08.610 --> 00:03:11.150 I now need to actually create a multicamera clip 00:03:11.150 --> 00:03:12.450 from the timeline. 00:03:12.450 --> 00:03:14.390 And you can actually create a multicamera clip 00:03:14.390 --> 00:03:18.230 either from a regular timeline or from a compound clip. 00:03:18.230 --> 00:03:21.480 So I'm going to locate the timeline in the Media Pool, 00:03:21.480 --> 00:03:24.110 right click on it, and then choose the option 00:03:24.110 --> 00:03:29.210 Convert Timeline To Multicam Clip. 00:03:29.210 --> 00:03:31.430 This closes the timeline down because now it's 00:03:31.430 --> 00:03:32.580 no longer a timeline. 00:03:32.580 --> 00:03:34.590 It's technically a multicamera clip. 00:03:34.590 --> 00:03:37.170 And if I use the media preview here, 00:03:37.170 --> 00:03:40.100 you can see that I can actually preview the multicamera clip 00:03:40.100 --> 00:03:42.740 directly in the source viewer. 00:03:42.740 --> 00:03:45.930 The two clips are actually labeled video one and video two, 00:03:45.930 --> 00:03:48.590 because those are the actual names of the tracks 00:03:48.590 --> 00:03:51.770 that we actually place those two clips on in the timeline 00:03:51.770 --> 00:03:54.320 before we created the multicamera clip. 00:03:54.320 --> 00:03:56.580 Now that I've got the clip synchronized. 00:03:56.580 --> 00:03:58.340 I'm going to open it in the source viewer 00:03:58.340 --> 00:03:59.760 by double clicking it. 00:03:59.760 --> 00:04:02.930 And then I just simply mark the range of the clip 00:04:02.930 --> 00:04:05.480 that I need, just like any other regular clip. 00:04:05.480 --> 00:04:06.230 [VIDEO PLAYBACK] 00:04:06.230 --> 00:04:08.700 - And the name Citizen Chain is? 00:04:08.700 --> 00:04:11.580 - That is the brainchild of my partner. 00:04:11.580 --> 00:04:12.810 He named the shop. 00:04:12.810 --> 00:04:15.210 I was a big fan of Orson Welles. 00:04:15.210 --> 00:04:18.110 I had done several projects on him going through school 00:04:18.110 --> 00:04:21.380 and stuff like that, so I appreciated the pun and the play 00:04:21.380 --> 00:04:24.560 on the word of Citizen Kane, Citizen Chain. 00:04:24.560 --> 00:04:26.900 And then only after we named the shop, 00:04:26.900 --> 00:04:31.130 by certain course of events, we found out 00:04:31.130 --> 00:04:32.940 that Rosebud was really a bicycle. 00:04:32.940 --> 00:04:35.540 The inspiration for Rosebud as a sled 00:04:35.540 --> 00:04:38.210 was a bicycle that the screenwriter had as a child. 00:04:38.210 --> 00:04:38.815 [END PLAYBACK] 00:04:38.815 --> 00:04:40.190 CHRIS ROBERTS: So that's actually 00:04:40.190 --> 00:04:43.920 marked the story that Sasha has about naming the shop. 00:04:43.920 --> 00:04:45.740 Once I've got the clip marked, I'm 00:04:45.740 --> 00:04:51.110 just going to simply perform a regular insert edit. 00:04:51.110 --> 00:04:53.490 Now that I've got the clip in the timeline, 00:04:53.490 --> 00:04:56.270 I need to fine tune the interview. 00:04:56.270 --> 00:04:58.690 This is taking out parts of the interview 00:04:58.690 --> 00:05:00.550 that I don't really need, and just 00:05:00.550 --> 00:05:04.480 tightening the story up just so it flows a little better. 00:05:04.480 --> 00:05:06.910 Just so I can streamline the interface 00:05:06.910 --> 00:05:10.130 slightly so that it allows me to focus on the interview, 00:05:10.130 --> 00:05:13.915 I'm actually just going to hide the media pool. 00:05:13.915 --> 00:05:16.570 Then, in the timeline, I'm just going to play the interview. 00:05:16.570 --> 00:05:17.390 [VIDEO PLAYBACK] 00:05:17.390 --> 00:05:19.640 - I was a big fan of Orson Welles. 00:05:19.640 --> 00:05:21.670 I had done several projects on him 00:05:21.670 --> 00:05:24.210 going through school and stuff like that, so I appreciate-- 00:05:24.210 --> 00:05:24.875 [END PLAYBACK] 00:05:24.875 --> 00:05:26.292 CHRIS ROBERTS: Well, I don't think 00:05:26.292 --> 00:05:28.738 we need to know exactly why he's a big fan of Orson 00:05:28.738 --> 00:05:31.030 Welles and the fact that he's done some projects on him 00:05:31.030 --> 00:05:32.052 in school. 00:05:32.052 --> 00:05:34.510 Just the fact that he's a big fan of Orson Welles, I think, 00:05:34.510 --> 00:05:35.810 is more than enough. 00:05:35.810 --> 00:05:38.560 So let's take some of this interview out. 00:05:38.560 --> 00:05:39.370 [VIDEO PLAYBACK] 00:05:39.370 --> 00:05:43.467 - I was a big fan of Orson Welles. 00:05:43.467 --> 00:05:44.050 [END PLAYBACK] 00:05:44.050 --> 00:05:46.258 CHRIS ROBERTS: That's the beginning of his next line. 00:05:46.258 --> 00:05:47.920 I'm going to go to my Blade Edit mode 00:05:47.920 --> 00:05:52.090 by pressing B on my keyboard, come down to the timeline, 00:05:52.090 --> 00:05:54.015 and click to make an edit point. 00:05:54.015 --> 00:05:54.790 [VIDEO PLAYBACK] 00:05:54.790 --> 00:05:56.830 - I had done several projects on him 00:05:56.830 --> 00:05:59.680 going through school and stuff like that, so I appreciate the-- 00:05:59.680 --> 00:06:02.725 00:06:02.725 --> 00:06:03.735 [END PLAYBACK] 00:06:03.735 --> 00:06:05.110 CHRIS ROBERTS: So now I'm finding 00:06:05.110 --> 00:06:07.460 the beginning of the next phrase where he says so. 00:06:07.460 --> 00:06:09.580 And again, I'll use the blade edit mode 00:06:09.580 --> 00:06:13.180 to add the edit point going into selection edit mode 00:06:13.180 --> 00:06:16.360 to select that, pressing Shift-Backspace in order 00:06:16.360 --> 00:06:18.820 to perform a ripple delete. 00:06:18.820 --> 00:06:20.320 If I now use the forward slash key. 00:06:20.320 --> 00:06:21.230 [VIDEO PLAYBACK] 00:06:21.230 --> 00:06:23.210 - I was a big fan of Orson Welles, 00:06:23.210 --> 00:06:24.860 so I appreciated the pun. 00:06:24.860 --> 00:06:25.510 [END PLAYBACK] 00:06:25.510 --> 00:06:28.250 CHRIS ROBERTS: Now that probably needs a little bit of trimming, 00:06:28.250 --> 00:06:29.840 but I'm going to come back to that. 00:06:29.840 --> 00:06:32.770 I'm actually just going to get the interview all trimmed 00:06:32.770 --> 00:06:36.910 up so that we're focusing just on the main parts of the story. 00:06:36.910 --> 00:06:38.660 So I'm going to continue playing the clip, 00:06:38.660 --> 00:06:41.327 listening for the next piece of interview that I want to remove. 00:06:41.327 --> 00:06:42.050 [VIDEO PLAYBACK] 00:06:42.050 --> 00:06:44.620 - So I appreciated the pun and the play 00:06:44.620 --> 00:06:47.800 on the word of Citizen Kane, Citizen Chain. 00:06:47.800 --> 00:06:48.580 And then-- 00:06:48.580 --> 00:06:49.510 [END PLAYBACK] 00:06:49.510 --> 00:06:51.260 CHRIS ROBERTS: Now there's a big ah there, 00:06:51.260 --> 00:06:53.200 which is a little bit off putting. 00:06:53.200 --> 00:06:55.940 So I can tidy that up by removing that ah. 00:06:55.940 --> 00:06:58.600 And in this case, I'm just going to set an endpoint just 00:06:58.600 --> 00:07:05.650 before that piece of waveform, jog forward 00:07:05.650 --> 00:07:08.920 until after he finishes, and then set an out point. 00:07:08.920 --> 00:07:11.080 So using in and the out points here 00:07:11.080 --> 00:07:13.360 instead of the blade edit mode just makes things 00:07:13.360 --> 00:07:15.770 a little bit tidier and a little bit easier. 00:07:15.770 --> 00:07:18.490 I don't need to keep swapping in and out of different timeline 00:07:18.490 --> 00:07:19.370 modes. 00:07:19.370 --> 00:07:22.370 Shift-Backspace will ripple delete that clip out. 00:07:22.370 --> 00:07:23.475 Hit the forward slash key. 00:07:23.475 --> 00:07:24.640 [VIDEO PLAYBACK] 00:07:24.640 --> 00:07:26.455 - And then only after we named the shop-- 00:07:26.455 --> 00:07:27.110 [END PLAYBACK] 00:07:27.110 --> 00:07:28.360 CHRIS ROBERTS: That's working. 00:07:28.360 --> 00:07:29.980 One more trim, I think. 00:07:29.980 --> 00:07:30.920 [VIDEO PLAYBACK] 00:07:30.920 --> 00:07:34.780 - By certain course of events, we 00:07:34.780 --> 00:07:36.726 found out that Rosebud was really a bicycle. 00:07:36.726 --> 00:07:37.570 [END PLAYBACK] 00:07:37.570 --> 00:07:38.750 CHRIS ROBERTS: Certain course of events. 00:07:38.750 --> 00:07:40.330 He doesn't really elaborate on what 00:07:40.330 --> 00:07:42.410 those certain course of events were, 00:07:42.410 --> 00:07:44.480 so we don't really need to know about it. 00:07:44.480 --> 00:07:46.810 So let's take that section out. 00:07:46.810 --> 00:07:48.130 [VIDEO PLAYBACK] 00:07:48.130 --> 00:07:50.032 - And then only after we named the shop, 00:07:50.032 --> 00:07:51.990 we found out that Rosebud was really a bicycle. 00:07:51.990 --> 00:07:52.743 [END PLAYBACK] 00:07:52.743 --> 00:07:54.160 CHRIS ROBERTS: So what we now have 00:07:54.160 --> 00:07:56.600 is what we often refer to as a radio edit. 00:07:56.600 --> 00:07:59.720 We actually have the interview working fairly well. 00:07:59.720 --> 00:08:01.810 You may want to go back through the interview 00:08:01.810 --> 00:08:04.280 and actually listen to the cuts that you've made, 00:08:04.280 --> 00:08:06.260 just to make sure you're happy with them all, 00:08:06.260 --> 00:08:09.620 and that the audio flows nicely from one clip to the next. 00:08:09.620 --> 00:08:13.550 I'm happy with most of those, apart from this first edit here. 00:08:13.550 --> 00:08:16.960 So I'm going to go back to it and use the detail zoom button 00:08:16.960 --> 00:08:17.707 to zoom in there. 00:08:17.707 --> 00:08:19.540 Let's just preview and listen to that again. 00:08:19.540 --> 00:08:20.240 [VIDEO PLAYBACK] 00:08:20.240 --> 00:08:22.160 - I was a big fan of Orson Welles, 00:08:22.160 --> 00:08:23.810 so I appreciated the pun. 00:08:23.810 --> 00:08:24.550 [END PLAYBACK] 00:08:24.550 --> 00:08:26.175 CHRIS ROBERTS: So in the incoming shot, 00:08:26.175 --> 00:08:28.820 I'm actually catching the end of the previous word. 00:08:28.820 --> 00:08:32.059 I'm just going to remove that by going into trim edit mode, 00:08:32.059 --> 00:08:35.210 selecting the incoming side of the edit, 00:08:35.210 --> 00:08:37.419 and then using the period key just 00:08:37.419 --> 00:08:40.127 to trim off one frame off that incoming shot. 00:08:40.127 --> 00:08:41.169 Let's listen to it again. 00:08:41.169 --> 00:08:42.039 [VIDEO PLAYBACK] 00:08:42.039 --> 00:08:44.090 - I was a big fan of Orson Welles, 00:08:44.090 --> 00:08:46.017 so I appreciated the pun, and-- 00:08:46.017 --> 00:08:46.600 [END PLAYBACK] 00:08:46.600 --> 00:08:48.892 CHRIS ROBERTS: Now I feel as though I've taken too much 00:08:48.892 --> 00:08:51.993 off, so let's just try and nudge that back a couple of frames. 00:08:51.993 --> 00:08:52.660 [VIDEO PLAYBACK] 00:08:52.660 --> 00:08:54.525 - I was a big fan of Orson Welles, 00:08:54.525 --> 00:08:56.427 and so I appreciated the pun. 00:08:56.427 --> 00:08:57.010 [END PLAYBACK] 00:08:57.010 --> 00:08:59.360 CHRIS ROBERTS: I might have to lose the so altogether, 00:08:59.360 --> 00:09:00.080 to be honest. 00:09:00.080 --> 00:09:03.700 But this is all part of editing. 00:09:03.700 --> 00:09:06.123 I'm just going to trim it forward just to lose the so. 00:09:06.123 --> 00:09:06.790 [VIDEO PLAYBACK] 00:09:06.790 --> 00:09:08.900 - I was a big fan of Orson Welles. 00:09:08.900 --> 00:09:10.977 I appreciated the pun and the play-- 00:09:10.977 --> 00:09:11.560 [END PLAYBACK] 00:09:11.560 --> 00:09:12.650 CHRIS ROBERTS: That's fine. 00:09:12.650 --> 00:09:14.500 Let's just trim off a couple more frames and have a listen. 00:09:14.500 --> 00:09:15.110 [VIDEO PLAYBACK] 00:09:15.110 --> 00:09:16.110 - --fan of Orson Welles. 00:09:16.110 --> 00:09:17.507 I appreciated the pun and the-- 00:09:17.507 --> 00:09:18.090 [END PLAYBACK] 00:09:18.090 --> 00:09:19.550 CHRIS ROBERTS: That's not too bad. 00:09:19.550 --> 00:09:22.870 So now I have my radio edit working, it's time 00:09:22.870 --> 00:09:25.510 to actually use the different angles that we 00:09:25.510 --> 00:09:28.030 have inside this multicam clip. 00:09:28.030 --> 00:09:30.500 Let's go back into full extent zoom 00:09:30.500 --> 00:09:33.280 so that we can see the multicam clip in its entirety 00:09:33.280 --> 00:09:35.110 in the timeline. 00:09:35.110 --> 00:09:37.210 At the moment, we're actually starting 00:09:37.210 --> 00:09:39.483 on this medium wide shot here. 00:09:39.483 --> 00:09:40.150 [VIDEO PLAYBACK] 00:09:40.150 --> 00:09:41.960 - Was a big fan of Orson Welles. 00:09:41.960 --> 00:09:43.960 I appreciated the pun and the play 00:09:43.960 --> 00:09:46.640 on the word of Citizen Kane, Citizen Chain. 00:09:46.640 --> 00:09:47.395 [END PLAYBACK] 00:09:47.395 --> 00:09:50.290 CHRIS ROBERTS: So at this point, what I want on this clip 00:09:50.290 --> 00:09:55.120 is I actually want to move to the second camera angle. 00:09:55.120 --> 00:09:58.060 If I right click on that clip, you 00:09:58.060 --> 00:10:02.060 can see I have an option to switch the multicam clip angle. 00:10:02.060 --> 00:10:05.320 And then I get to choose which of those two angles 00:10:05.320 --> 00:10:06.580 to choose from. 00:10:06.580 --> 00:10:09.330 Let's just click video two. 00:10:09.330 --> 00:10:10.300 [VIDEO PLAYBACK] 00:10:10.300 --> 00:10:13.780 - A big fan of Orson Welles, I appreciated the pun and the play 00:10:13.780 --> 00:10:16.390 on the word of Citizen Kane, Citizen Chain. 00:10:16.390 --> 00:10:17.973 And then only after we named the shop, 00:10:17.973 --> 00:10:19.932 we found out that Rosebud was really a bicycle. 00:10:19.932 --> 00:10:20.870 [END PLAYBACK] 00:10:20.870 --> 00:10:23.440 CHRIS ROBERTS: So I have the same problem on this clip 00:10:23.440 --> 00:10:25.610 now, so I can do the same again. 00:10:25.610 --> 00:10:29.170 Right click, choose switch multicam clip angle 00:10:29.170 --> 00:10:30.836 to video two. 00:10:30.836 --> 00:10:31.750 [VIDEO PLAYBACK] 00:10:31.750 --> 00:10:33.468 - After we named the shop, we found out 00:10:33.468 --> 00:10:34.885 that Rosebud was really a bicycle. 00:10:34.885 --> 00:10:35.560 [END PLAYBACK] 00:10:35.560 --> 00:10:37.977 CHRIS ROBERTS: And you can see that the interview actually 00:10:37.977 --> 00:10:40.720 cuts nicer visually because I'm switching 00:10:40.720 --> 00:10:43.000 between the different angles. 00:10:43.000 --> 00:10:46.400 I could actually cut to a new angle at any point. 00:10:46.400 --> 00:10:48.370 For example, if I move the playhead 00:10:48.370 --> 00:10:50.230 to this part of the interview and just play. 00:10:50.230 --> 00:10:51.008 [VIDEO PLAYBACK] 00:10:51.008 --> 00:10:52.300 - Play on the word of Citizen-- 00:10:52.300 --> 00:10:53.050 [END PLAYBACK] 00:10:53.050 --> 00:10:54.550 CHRIS ROBERTS: At this point, I want 00:10:54.550 --> 00:10:56.120 to go to the wide shot where he says, 00:10:56.120 --> 00:10:58.480 Citizen Kane, Citizen Chain. 00:10:58.480 --> 00:11:01.730 So at this point, I can now add an edit point. 00:11:01.730 --> 00:11:04.100 Previously we used the blade edit mode for this, 00:11:04.100 --> 00:11:07.750 but if I just press Command or Control-B, that will add an edit 00:11:07.750 --> 00:11:13.456 and allow me to switch this clip to the first video angle. 00:11:13.456 --> 00:11:14.824 [VIDEO PLAYBACK] 00:11:14.824 --> 00:11:16.377 - Of Citizen Kane, Citizen Chain. 00:11:16.377 --> 00:11:16.960 [END PLAYBACK] 00:11:16.960 --> 00:11:18.543 CHRIS ROBERTS: But of course, now I've 00:11:18.543 --> 00:11:21.080 got a jump cut to this because it's using the same angle. 00:11:21.080 --> 00:11:24.310 So I'm going to select that, right click, switch multicam 00:11:24.310 --> 00:11:26.030 angle, video two. 00:11:26.030 --> 00:11:29.380 And then, of course, I've got the same problem again 00:11:29.380 --> 00:11:31.790 because now I've got a jump cut between the two angles. 00:11:31.790 --> 00:11:35.050 So I'm going to right click, switch multicam angle, video 00:11:35.050 --> 00:11:36.496 one. 00:11:36.496 --> 00:11:37.840 [VIDEO PLAYBACK] 00:11:37.840 --> 00:11:40.130 - I was a big fan of Orson Welles. 00:11:40.130 --> 00:11:42.160 I appreciated the pun and the play 00:11:42.160 --> 00:11:44.840 on the word of Citizen Kane, Citizen Chain. 00:11:44.840 --> 00:11:46.800 And then only after we named the shop, 00:11:46.800 --> 00:11:49.230 we found out that Rosebud was really a bicycle. 00:11:49.230 --> 00:11:49.975 [END PLAYBACK] 00:11:49.975 --> 00:11:51.350 CHRIS ROBERTS: You can also treat 00:11:51.350 --> 00:11:54.410 all of these multicam clips just like regular clips 00:11:54.410 --> 00:11:55.850 in the timeline. 00:11:55.850 --> 00:11:59.990 If I go into trim edit mode by pressing T, hold down the Option 00:11:59.990 --> 00:12:04.530 or Alt key to select the linked video of the first clip, 00:12:04.530 --> 00:12:10.440 I can now trim this in order to create a slight split edit, 00:12:10.440 --> 00:12:15.800 so that I'm creating a J cut so that the audio comes in slightly 00:12:15.800 --> 00:12:17.310 earlier than the video. 00:12:17.310 --> 00:12:20.510 And again, I can do a similar thing at the end here 00:12:20.510 --> 00:12:25.996 in order to create a split edit on the last clip. 00:12:25.996 --> 00:12:26.825 [VIDEO PLAYBACK] 00:12:26.825 --> 00:12:29.010 - I was a big fan of Orson Welles. 00:12:29.010 --> 00:12:31.010 I appreciated the pun and the play 00:12:31.010 --> 00:12:33.690 on the word of Citizen Kane, Citizen Chain. 00:12:33.690 --> 00:12:35.670 And then only after we named the shop, 00:12:35.670 --> 00:12:39.500 we found out that Rosebud was really a bicycle. 00:12:39.500 --> 00:12:40.433 [END PLAYBACK] 00:12:40.433 --> 00:12:43.100 CHRIS ROBERTS: Now I've got the multicam clip working quite well 00:12:43.100 --> 00:12:44.040 in the edit. 00:12:44.040 --> 00:12:46.758 The last thing I need to do is to flatten it. 00:12:46.758 --> 00:12:48.300 What this will do is it will actually 00:12:48.300 --> 00:12:51.120 give me back the original source clips that 00:12:51.120 --> 00:12:54.345 were used to create the multicam clip in the first place. 00:12:54.345 --> 00:12:56.010 To flatten the multicam clip, just 00:12:56.010 --> 00:12:58.080 simply select all of the multicam 00:12:58.080 --> 00:13:01.140 clips within your timeline, right click, 00:13:01.140 --> 00:13:03.860 and choose flatten multicam clip. 00:13:03.860 --> 00:13:06.735 00:13:06.735 --> 00:13:10.140 What this does is it actually removes the multicam clips 00:13:10.140 --> 00:13:12.900 from your timeline and actually leaves in place 00:13:12.900 --> 00:13:15.126 the original source clips. 00:13:15.126 --> 00:13:15.900 [VIDEO PLAYBACK] 00:13:15.900 --> 00:13:18.430 - I was a big fan of Orson Welles. 00:13:18.430 --> 00:13:20.430 I appreciated the pun and the play 00:13:20.430 --> 00:13:23.110 on the word of Citizen Kane, Citizen Chain. 00:13:23.110 --> 00:13:25.090 And then only after we named the shop, 00:13:25.090 --> 00:13:28.404 we found out that Rosebud was really a bicycle. 00:13:28.404 --> 00:13:29.730 [END PLAYBACK] 00:13:29.730 --> 00:13:31.230 CHRIS ROBERTS: And that's an example 00:13:31.230 --> 00:13:35.440 about how we can edit a simple two camera interview. 00:13:35.440 --> 00:13:38.430 However, not all multicamera edits 00:13:38.430 --> 00:13:40.450 are quite that straightforward. 00:13:40.450 --> 00:13:41.910 Sometimes you're actually dealing 00:13:41.910 --> 00:13:44.440 with many, many different camera angles. 00:13:44.440 --> 00:13:46.980 So let's look at another example about how 00:13:46.980 --> 00:13:49.740 we can cut a music video. 00:13:49.740 --> 00:13:53.170 Let's begin by reopening the media pool 00:13:53.170 --> 00:13:56.340 and selecting the Miserable Girl bin. 00:13:56.340 --> 00:13:59.760 In this bin, we've actually got eight different video 00:13:59.760 --> 00:14:02.620 clips of a band performing on a stage. 00:14:02.620 --> 00:14:06.540 We've also got an audio file, which is the actual song 00:14:06.540 --> 00:14:08.340 that they were performing to. 00:14:08.340 --> 00:14:11.490 We're going to let Resolve synchronize these clips 00:14:11.490 --> 00:14:14.590 and create the multicamera clip, but just before we do, 00:14:14.590 --> 00:14:16.710 it's worth pointing something out. 00:14:16.710 --> 00:14:18.900 You'll notice that all of these clips 00:14:18.900 --> 00:14:26.970 have a name, JBR_01, JBR_02, JBR_03, and so on and so forth. 00:14:26.970 --> 00:14:31.560 If I select JBR_01 and then access 00:14:31.560 --> 00:14:35.070 the File tab in the inspector, you'll 00:14:35.070 --> 00:14:38.580 see that this clip actually has some metadata specifying 00:14:38.580 --> 00:14:40.860 that this was camera one. 00:14:40.860 --> 00:14:45.900 However, if I select JBR_02 and have a look in the file 00:14:45.900 --> 00:14:48.360 inspector, you'll notice that this has actually 00:14:48.360 --> 00:14:54.760 been given camera number eight, JBR_03 is camera number two, 00:14:54.760 --> 00:14:56.710 and so on and so forth. 00:14:56.710 --> 00:15:00.840 So just because the cameras are named in a specific way in terms 00:15:00.840 --> 00:15:03.430 of the file or the clip within the project 00:15:03.430 --> 00:15:07.350 doesn't necessarily mean I can't apply additional metadata 00:15:07.350 --> 00:15:09.490 information to each of those clips. 00:15:09.490 --> 00:15:14.760 This helps me specify the different camera numbers. 00:15:14.760 --> 00:15:16.710 I'm going to close the inspector, 00:15:16.710 --> 00:15:20.430 and this time I'm actually going to right click on the Miserable 00:15:20.430 --> 00:15:27.120 Girl bin and choose the option Create New Multicam Clip using 00:15:27.120 --> 00:15:28.390 selected bin. 00:15:28.390 --> 00:15:30.120 In this case, it just means that I 00:15:30.120 --> 00:15:31.890 can select the bin rather than having 00:15:31.890 --> 00:15:33.550 to select all of the clips. 00:15:33.550 --> 00:15:36.040 However, if there are some clips in this bin, 00:15:36.040 --> 00:15:38.490 you can just select them independently and actually 00:15:38.490 --> 00:15:43.470 choose to create the multicam clip from the selected clips. 00:15:43.470 --> 00:15:45.780 When I choose this option, Resolve 00:15:45.780 --> 00:15:48.480 asks me to create the multicamera clip and what 00:15:48.480 --> 00:15:50.080 settings it should use. 00:15:50.080 --> 00:15:51.900 So here I'm actually going to change 00:15:51.900 --> 00:15:55.000 the name of this multicam clip. 00:15:55.000 --> 00:16:00.690 We'll call it Miserable Girl Sync. 00:16:00.690 --> 00:16:03.520 I often use sync at the end of multicam clips, 00:16:03.520 --> 00:16:05.550 and it just helps to differentiate them 00:16:05.550 --> 00:16:07.980 in the list view in the media pool 00:16:07.980 --> 00:16:12.660 as to whether something is a timeline or a multicamera clip. 00:16:12.660 --> 00:16:15.510 We leave the frame rate as it is because that's 00:16:15.510 --> 00:16:18.010 the same frame rate of the clips that I'm using. 00:16:18.010 --> 00:16:20.500 But we're going to change the angle sync. 00:16:20.500 --> 00:16:24.870 You'll notice that we can use in points, out points, timecode, 00:16:24.870 --> 00:16:26.980 sound, or markers. 00:16:26.980 --> 00:16:30.630 Well, we didn't add any in, out points, markers 00:16:30.630 --> 00:16:34.290 to any of these clips, so we can't use any of those in order 00:16:34.290 --> 00:16:37.170 to be able to create an accurate sync. 00:16:37.170 --> 00:16:40.240 Also, these clips don't have time code. 00:16:40.240 --> 00:16:43.320 Not all cameras will record accurate time code 00:16:43.320 --> 00:16:45.400 that can be synced with other cameras. 00:16:45.400 --> 00:16:49.080 So in this case, sound is actually the most reliable way 00:16:49.080 --> 00:16:52.380 that we've got of synchronizing these clips together. 00:16:52.380 --> 00:16:56.700 So let's choose sound from the angle sync option. 00:16:56.700 --> 00:16:59.130 From the angle name, though, we're 00:16:59.130 --> 00:17:04.829 actually going to change from sequential to metadata camera. 00:17:04.829 --> 00:17:08.220 This means we're actually using that camera metadata that I've 00:17:08.220 --> 00:17:10.890 pointed out in order to be able to choose 00:17:10.890 --> 00:17:13.170 the order of the cameras, and also 00:17:13.170 --> 00:17:16.020 very importantly, the name as those cameras 00:17:16.020 --> 00:17:19.140 appear in the multicam clip viewer. 00:17:19.140 --> 00:17:21.240 We can actually leave all of the other options 00:17:21.240 --> 00:17:22.960 alone, just for the moment. 00:17:22.960 --> 00:17:24.810 However, it is worth pointing out 00:17:24.810 --> 00:17:27.210 that there is this option to move source 00:17:27.210 --> 00:17:29.580 clips to an original clips bin. 00:17:29.580 --> 00:17:31.890 Sometimes you don't want the source clips 00:17:31.890 --> 00:17:34.260 to be moved to another bin, so it's always worth 00:17:34.260 --> 00:17:37.810 just thinking about whether you need that option on or off. 00:17:37.810 --> 00:17:40.710 Let's click Create. 00:17:40.710 --> 00:17:43.620 And after a brief analysis, Resolve will actually 00:17:43.620 --> 00:17:45.910 create me a new multicam clip. 00:17:45.910 --> 00:17:48.330 And also in the media pool here, you 00:17:48.330 --> 00:17:52.650 can see that we've also now got a new original clips bin. 00:17:52.650 --> 00:17:55.170 Double click the multicam clip to open it 00:17:55.170 --> 00:17:56.440 into the source viewer. 00:17:56.440 --> 00:17:58.620 And now we can do a quick sanity check 00:17:58.620 --> 00:18:01.133 to see if all of these angles are in sync. 00:18:01.133 --> 00:18:01.800 [VIDEO PLAYBACK] 00:18:01.800 --> 00:18:03.780 [MUSIC PLAYING] 00:18:03.780 --> 00:18:10.415 00:18:10.415 --> 00:18:10.998 [END PLAYBACK] 00:18:10.998 --> 00:18:12.873 CHRIS ROBERTS: Well, it's not very good audio 00:18:12.873 --> 00:18:15.090 because I'm actually listening to on-camera audio 00:18:15.090 --> 00:18:16.750 from camera angle one. 00:18:16.750 --> 00:18:19.300 However, just by looking at the pictures, 00:18:19.300 --> 00:18:21.330 I can see that all of the performances 00:18:21.330 --> 00:18:23.050 do seem to be in sync. 00:18:23.050 --> 00:18:26.650 So the next thing I need is I need a new timeline. 00:18:26.650 --> 00:18:30.570 Let's select the Timelines bin, and from the File menu, 00:18:30.570 --> 00:18:34.560 choose New Timeline. 00:18:34.560 --> 00:18:41.010 I'm going to rename this timeline Miserable Girl Edit. 00:18:41.010 --> 00:18:43.080 And then leave all of the other options 00:18:43.080 --> 00:18:46.470 the same, because the defaults will work for this. 00:18:46.470 --> 00:18:48.810 And choose Create. 00:18:48.810 --> 00:18:53.230 Now I can edit the multicam clip into this empty timeline, 00:18:53.230 --> 00:18:55.390 just like any other regular clip. 00:18:55.390 --> 00:19:00.450 So I'm going to find the start of the performance. 00:19:00.450 --> 00:19:02.700 And set an endpoint. 00:19:02.700 --> 00:19:04.800 Using audio scrubbing is very useful 00:19:04.800 --> 00:19:07.930 to be able to find the beginning of that multicamera clip. 00:19:07.930 --> 00:19:10.870 However, I can always trim it in the timeline anyway, 00:19:10.870 --> 00:19:14.218 so I'm not too worried about finding the exact point. 00:19:14.218 --> 00:19:16.510 I'm just going to make an overwrite edit for this clip, 00:19:16.510 --> 00:19:19.030 just as you would normally do for any clip. 00:19:19.030 --> 00:19:22.360 And now I'm just going to hide the media pool again, 00:19:22.360 --> 00:19:25.020 just to give me plenty of room in the interface 00:19:25.020 --> 00:19:28.050 to actually concentrate on this clip 00:19:28.050 --> 00:19:30.578 and move the playhead back to the beginning. 00:19:30.578 --> 00:19:32.370 So the first thing I want to do is actually 00:19:32.370 --> 00:19:36.780 to choose the starting angle and also the audio angle 00:19:36.780 --> 00:19:38.470 that I actually want to work with. 00:19:38.470 --> 00:19:40.470 And we can do that the same way that we actually 00:19:40.470 --> 00:19:42.900 chose the different video angles in the interview 00:19:42.900 --> 00:19:44.850 exercise previously. 00:19:44.850 --> 00:19:48.030 In the timeline, I'm just going to right click the picture 00:19:48.030 --> 00:19:51.220 and choose Switch Multicam Clip Angle, 00:19:51.220 --> 00:19:54.130 and then I can choose whichever angle that I want. 00:19:54.130 --> 00:19:56.200 I'm going to choose camera four here, 00:19:56.200 --> 00:19:58.650 because I know that camera four is actually the drummer, 00:19:58.650 --> 00:20:02.280 and it's actually a good angle from which to start. 00:20:02.280 --> 00:20:05.610 Also, I'm going to right click the audio clip 00:20:05.610 --> 00:20:11.040 and choose Switch Multicamera Angle to camera music. 00:20:11.040 --> 00:20:15.700 The audio file also actually had some camera information in it, 00:20:15.700 --> 00:20:17.910 so that it's actually put this in the correct place 00:20:17.910 --> 00:20:19.570 and actually labeled it correctly 00:20:19.570 --> 00:20:22.530 so that I'm not guessing as to which angle is the actual music 00:20:22.530 --> 00:20:23.880 angle. 00:20:23.880 --> 00:20:25.440 Looking at the waveform, I can also 00:20:25.440 --> 00:20:27.580 see it's a little hot on the audio, 00:20:27.580 --> 00:20:31.360 so I'm actually just going to bring that down a little bit, 00:20:31.360 --> 00:20:34.790 just so that I don't deafen myself when I play this back. 00:20:34.790 --> 00:20:38.060 Once I've got the two starting angles set for both sound 00:20:38.060 --> 00:20:40.580 and picture in the timeline, I'm almost 00:20:40.580 --> 00:20:42.930 ready to do my multicamera edit. 00:20:42.930 --> 00:20:46.130 However, one other thing that I want to do 00:20:46.130 --> 00:20:48.680 is I now want to bring the source viewer into play 00:20:48.680 --> 00:20:51.290 so that I can easily switch between the different camera 00:20:51.290 --> 00:20:52.730 angles. 00:20:52.730 --> 00:20:54.590 All I need to do is come to this menu 00:20:54.590 --> 00:20:57.770 option in the bottom left hand corner of the source viewer 00:20:57.770 --> 00:21:03.440 and change the menu from source to multicam. 00:21:03.440 --> 00:21:06.060 Down at the bottom of the multicam viewer, 00:21:06.060 --> 00:21:08.160 you can see that there are three options. 00:21:08.160 --> 00:21:12.740 This will indicate whether I'm cutting sound and picture, just 00:21:12.740 --> 00:21:15.920 sound, or just picture. 00:21:15.920 --> 00:21:19.670 In this case, I just want to choose picture. 00:21:19.670 --> 00:21:22.460 So now I've chosen what side of the multicam 00:21:22.460 --> 00:21:23.610 I actually want to cut. 00:21:23.610 --> 00:21:25.200 In this case, just picture. 00:21:25.200 --> 00:21:29.120 I'm all ready to just hit Play and then to click on the angles 00:21:29.120 --> 00:21:30.977 as I want them. 00:21:30.977 --> 00:21:32.468 [VIDEO PLAYBACK] 00:21:32.468 --> 00:21:34.953 ["MISERABLE GIRL" PLAYING] 00:21:34.953 --> 00:21:52.845 00:21:52.845 --> 00:21:56.730 (SINGING) You won't be happy till I put you in your place 00:21:56.730 --> 00:21:59.820 You can't smile with that frown on your face 00:21:59.820 --> 00:22:02.510 But you look so fine 00:22:02.510 --> 00:22:06.440 I need to get you in line 00:22:06.440 --> 00:22:07.890 You say you want love 00:22:07.890 --> 00:22:09.930 But I think that you're confused 00:22:09.930 --> 00:22:12.750 All you really need is my neglecting, my abuse 00:22:12.750 --> 00:22:15.740 But you look so fine 00:22:15.740 --> 00:22:19.070 I need to make you mine 00:22:19.070 --> 00:22:23.270 You're just another pretty girl with something 00:22:23.270 --> 00:22:25.770 to prove and nothing to lose 00:22:25.770 --> 00:22:28.910 Yes, you're beautiful 00:22:28.910 --> 00:22:32.776 But you're not happy until you're miserable. 00:22:32.776 --> 00:22:35.450 00:22:35.450 --> 00:22:58.130 You say sweet things, but I'm not gullible 00:22:58.130 --> 00:23:00.090 You're crying, you're crying 00:23:00.090 --> 00:23:02.065 You take up all my time 00:23:02.065 --> 00:23:04.680 All of your fits are just to show you want to try 00:23:04.680 --> 00:23:07.820 But you look so fine 00:23:07.820 --> 00:23:11.300 Girl, you're so divine 00:23:11.300 --> 00:23:13.050 Controlling, controlling 00:23:13.050 --> 00:23:14.700 Which one do you want? 00:23:14.700 --> 00:23:17.790 I can do both, but it's never enough 00:23:17.790 --> 00:23:21.320 I'm lonely each day, but you're stuck in your ways 00:23:21.320 --> 00:23:23.960 It's too late 00:23:23.960 --> 00:23:28.160 You're just another pretty girl with something 00:23:28.160 --> 00:23:30.355 to prove and nothing to lose 00:23:30.355 --> 00:23:34.010 Yes, you're beautiful 00:23:34.010 --> 00:23:40.220 But you're not happy until you're miserable 00:23:40.220 --> 00:24:39.747 You say sweet things, but I'm not gullible 00:24:39.747 --> 00:24:41.832 [END PLAYBACK] 00:24:41.832 --> 00:24:43.290 CHRIS ROBERTS: So there we have it. 00:24:43.290 --> 00:24:45.500 I've gone from the beginning of the music video 00:24:45.500 --> 00:24:48.770 to the end, just simply clicking on the different angles 00:24:48.770 --> 00:24:50.970 that I want as I want them. 00:24:50.970 --> 00:24:54.810 Now, at this point, you might think, well, the job is done. 00:24:54.810 --> 00:24:57.320 However, as I was going through that 00:24:57.320 --> 00:24:59.220 and cutting between the different angles, 00:24:59.220 --> 00:25:02.430 there were a few cuts that I wasn't quite happy with. 00:25:02.430 --> 00:25:05.850 So this is another important part of multicamera editing. 00:25:05.850 --> 00:25:09.200 Whilst you could possibly go through that music video 00:25:09.200 --> 00:25:12.500 and cut it in real time and be happy with the results 00:25:12.500 --> 00:25:15.630 when you've finished, simply think of this as a rough cut. 00:25:15.630 --> 00:25:18.180 This isn't live television, after all. 00:25:18.180 --> 00:25:20.000 It means that we can always go back 00:25:20.000 --> 00:25:22.190 and we can always make changes. 00:25:22.190 --> 00:25:25.040 Now, this means that whoever's watching this at the end 00:25:25.040 --> 00:25:28.063 doesn't necessarily need to see the creative decisions 00:25:28.063 --> 00:25:30.230 that you've actually gone through to achieve the end 00:25:30.230 --> 00:25:33.590 result. Let's go back through this multicam clip 00:25:33.590 --> 00:25:36.730 and let's see if there's any changes that we can make. 00:25:36.730 --> 00:25:38.230 [VIDEO PLAYBACK] 00:25:38.230 --> 00:26:00.990 ["MISERABLE GIRL" PLAYING] 00:26:00.990 --> 00:26:04.770 (SINGING) You won't be happy till I put you in your place 00:26:04.770 --> 00:26:07.777 You can't smile with that frown on your face 00:26:07.777 --> 00:26:08.360 But you look-- 00:26:08.360 --> 00:26:08.615 [END PLAYBACK] 00:26:08.615 --> 00:26:10.282 CHRIS ROBERTS: Well, at that point there 00:26:10.282 --> 00:26:14.780 on that outgoing shot, we lost the focus slightly 00:26:14.780 --> 00:26:18.320 before we cut to the next shot. 00:26:18.320 --> 00:26:20.780 So what I would want to do here is actually 00:26:20.780 --> 00:26:23.210 to probably roll the edit back a little bit 00:26:23.210 --> 00:26:26.270 in order to cover that slight slip of the focus. 00:26:26.270 --> 00:26:29.150 So let's go into detail zoom view 00:26:29.150 --> 00:26:31.980 in order to be able to see that edit quite clearly. 00:26:31.980 --> 00:26:34.400 I'm now going to click and hold on the edit 00:26:34.400 --> 00:26:36.800 and move it backwards and forwards in order 00:26:36.800 --> 00:26:39.800 to be able to roll the edit into a new position 00:26:39.800 --> 00:26:42.690 to cover that slight slip of the focus. 00:26:42.690 --> 00:26:44.390 I don't need to be in trim edit mode 00:26:44.390 --> 00:26:47.490 in order to make a change like this to a multicam clip. 00:26:47.490 --> 00:26:49.860 And actually, for most multicam edits, 00:26:49.860 --> 00:26:52.680 you probably want to stay away from trim edit mode. 00:26:52.680 --> 00:26:55.820 You certainly don't want to ripple or slip the clips, 00:26:55.820 --> 00:26:58.880 because that will actually break the sync. 00:26:58.880 --> 00:27:01.670 So I think I'm happy with the new position for that edit. 00:27:01.670 --> 00:27:04.153 I'm going to hit the forward slash key to preview it. 00:27:04.153 --> 00:27:04.820 [VIDEO PLAYBACK] 00:27:04.820 --> 00:27:07.770 (SINGING) You can't smile with that frown on your face, 00:27:07.770 --> 00:27:08.647 but you look so-- 00:27:08.647 --> 00:27:09.230 [END PLAYBACK] 00:27:09.230 --> 00:27:10.910 CHRIS ROBERTS: Now that works, and I'm 00:27:10.910 --> 00:27:14.370 happy that I've just covered up that slight slip of the focus. 00:27:14.370 --> 00:27:16.490 However, this wide shot of the singer 00:27:16.490 --> 00:27:19.170 actually now stays on for a little bit too long, 00:27:19.170 --> 00:27:21.440 so what I might want to do is actually 00:27:21.440 --> 00:27:23.870 cut to a different angle. 00:27:23.870 --> 00:27:26.960 I'm just going to play through the clip 00:27:26.960 --> 00:27:31.520 until I find the point where I want to cut. 00:27:31.520 --> 00:27:33.800 Well, it would probably be useful to actually cut 00:27:33.800 --> 00:27:36.500 to the drummer at this point here because there's 00:27:36.500 --> 00:27:38.510 a cymbal smash. 00:27:38.510 --> 00:27:40.250 So with the playhead actually parked 00:27:40.250 --> 00:27:42.330 on the frame where I want to make the cut, 00:27:42.330 --> 00:27:45.630 I'm now going to come up to the multicam source viewer. 00:27:45.630 --> 00:27:47.540 And you'll notice when I bring my mouse 00:27:47.540 --> 00:27:49.670 over the clip in the source viewer 00:27:49.670 --> 00:27:52.130 for the appropriate angle, it actually gives me 00:27:52.130 --> 00:27:55.530 a little razor blade icon to indicate that I'm going to cut. 00:27:55.530 --> 00:27:58.670 If I now click on that clip, you'll 00:27:58.670 --> 00:28:02.630 now notice that I've now got a new cut within that existing 00:28:02.630 --> 00:28:03.830 multicam clip. 00:28:03.830 --> 00:28:04.880 [VIDEO PLAYBACK] 00:28:04.880 --> 00:28:08.866 (SINGING) With that frown on your face, but you look so fine 00:28:08.866 --> 00:28:09.523 [END PLAYBACK] 00:28:09.523 --> 00:28:10.940 CHRIS ROBERTS: So you can see just 00:28:10.940 --> 00:28:14.360 how easy it is now to actually go through and actually add 00:28:14.360 --> 00:28:16.200 additional edit points. 00:28:16.200 --> 00:28:18.810 However, looking at the timeline now, 00:28:18.810 --> 00:28:22.160 I've noticed that the following clip is actually 00:28:22.160 --> 00:28:23.610 the same drummer shot. 00:28:23.610 --> 00:28:26.080 Thankfully, because this is a through edit, 00:28:26.080 --> 00:28:29.080 as indicated by the dotted lines, all I need to do 00:28:29.080 --> 00:28:32.920 is select it and then hit the Delete or Backspace key 00:28:32.920 --> 00:28:36.490 in order to be able to remove that through edit. 00:28:36.490 --> 00:28:40.000 That actually has now joined that clip together. 00:28:40.000 --> 00:28:41.770 Let's go through and choose a new angle. 00:28:41.770 --> 00:28:44.380 00:28:44.380 --> 00:28:47.965 I think it'd be useful to see the guitarist at this point. 00:28:47.965 --> 00:28:49.330 [VIDEO PLAYBACK] 00:28:49.330 --> 00:28:52.000 (SINGING) But you look so fine 00:28:52.000 --> 00:28:53.320 I need to get you-- 00:28:53.320 --> 00:28:53.903 [END PLAYBACK] 00:28:53.903 --> 00:28:56.320 CHRIS ROBERTS: And I think we should go back to the singer 00:28:56.320 --> 00:28:56.840 as well. 00:28:56.840 --> 00:29:04.108 For that second line Let's choose camera angle two. 00:29:04.108 --> 00:29:06.550 [VIDEO PLAYBACK] 00:29:06.550 --> 00:29:09.556 (SINGING) I need to get you in line 00:29:09.556 --> 00:29:10.330 [END PLAYBACK] 00:29:10.330 --> 00:29:12.622 CHRIS ROBERTS: Well, you'll notice on that camera angle 00:29:12.622 --> 00:29:14.720 that I've just chose, it's quite nice. 00:29:14.720 --> 00:29:17.620 However, you'll notice that the framing has now 00:29:17.620 --> 00:29:19.010 gone a little bit wrong. 00:29:19.010 --> 00:29:21.733 So the talent is moving in front of the camera, 00:29:21.733 --> 00:29:24.400 and of course, the cameraman is finding it difficult to keep up. 00:29:24.400 --> 00:29:29.290 00:29:29.290 --> 00:29:32.450 Of course, I could actually cover that with another shot. 00:29:32.450 --> 00:29:35.110 But the other thing that you can do with multicamera clips 00:29:35.110 --> 00:29:38.000 is you can actually switch between the different angles, 00:29:38.000 --> 00:29:40.990 and that's just as easy to do as making a cut. 00:29:40.990 --> 00:29:44.230 I'm just going to park the playhead over the multicam angle 00:29:44.230 --> 00:29:45.980 that I actually want to switch. 00:29:45.980 --> 00:29:49.880 I'm going to go with a wide shot of the whole band here, 00:29:49.880 --> 00:29:51.800 so camera angle number eight. 00:29:51.800 --> 00:29:54.110 Now if I just simply click on this angle, 00:29:54.110 --> 00:29:56.030 it will actually add an edit point. 00:29:56.030 --> 00:30:00.280 However, if I hold down the Option or the Alt key when 00:30:00.280 --> 00:30:01.780 I actually look at the mouse, you'll 00:30:01.780 --> 00:30:04.180 now see it's actually switched into what appears 00:30:04.180 --> 00:30:06.880 to be a replace edit symbol. 00:30:06.880 --> 00:30:09.130 And what this will do is it will just simply switch 00:30:09.130 --> 00:30:12.220 the entire angle, very similar to what we did on the interview 00:30:12.220 --> 00:30:13.850 in the first exercise. 00:30:13.850 --> 00:30:16.690 So just simply now holding down the Option or Alt key 00:30:16.690 --> 00:30:19.750 and clicking on the angle will switch the entire angle 00:30:19.750 --> 00:30:20.710 on the timeline. 00:30:20.710 --> 00:30:27.160 00:30:27.160 --> 00:30:29.960 let's go back to the drummer for that little ripple. 00:30:29.960 --> 00:30:32.330 [VIDEO PLAYBACK] 00:30:32.330 --> 00:30:34.226 00:30:34.226 --> 00:30:35.650 ["MISERABLE GIRL" PLAYING] 00:30:35.650 --> 00:30:39.130 (SINGING) You say you want love, but I think that you're confused 00:30:39.130 --> 00:30:41.407 All you really need is my neglecting, my abuse 00:30:41.407 --> 00:30:41.990 [END PLAYBACK] 00:30:41.990 --> 00:30:43.610 CHRIS ROBERTS: So now you can see. 00:30:43.610 --> 00:30:46.570 All that we need to do is just work back through the multicam 00:30:46.570 --> 00:30:51.080 edit, add in edit points, and actually roll in edit points, 00:30:51.080 --> 00:30:54.973 switching angles, and carrying on cutting. 00:30:54.973 --> 00:30:55.640 [VIDEO PLAYBACK] 00:30:55.640 --> 00:30:58.600 (SINGING) But you look so fine 00:30:58.600 --> 00:30:59.500 I need to make-- 00:30:59.500 --> 00:31:14.380 00:31:14.380 --> 00:31:17.170 I need to make you mine 00:31:17.170 --> 00:31:18.560 I need to make you-- 00:31:18.560 --> 00:31:21.430 00:31:21.430 --> 00:31:29.950 I need to make you mine 00:31:29.950 --> 00:31:36.490 You're just another pretty girl with something to prove and-- 00:31:36.490 --> 00:31:39.100 00:31:39.100 --> 00:31:43.240 You're just another pretty girl with something 00:31:43.240 --> 00:31:45.740 to prove and nothing to lose 00:31:45.740 --> 00:31:47.480 Yes, you're beautiful 00:31:47.480 --> 00:31:48.130 [END PLAYBACK] 00:31:48.130 --> 00:31:49.880 CHRIS ROBERTS: I hope you found this video 00:31:49.880 --> 00:31:52.150 to be useful in helping you edit your multicamera 00:31:52.150 --> 00:31:53.930 footage in DaVinci Resolve. 00:31:53.930 --> 00:31:56.420 Don't forget, if you've got any further questions, 00:31:56.420 --> 00:31:58.810 you can always join us on our forum pages 00:31:58.810 --> 00:32:01.700 where questions are answered on a daily basis. 00:32:01.700 --> 00:32:04.810 And don't forget, if you look at the DaVinci Resolve product 00:32:04.810 --> 00:32:08.020 pages, there's a whole section on training where there 00:32:08.020 --> 00:32:10.240 are freely available training videos 00:32:10.240 --> 00:32:12.550 and training books for you to use. 00:32:12.550 --> 00:32:14.880 Thank you very much. 00:32:14.880 --> 00:32:20.000