Hey everybody it's CameraTim and I'm gonna show you how to create multiple multicam setups
in DaVinci Resolve and stuff! There are a number of different use cases for multicam
setups, especially if you're doing interview sequences with multiple cameras, podcasts, music
videos with multiple cameras, you get gist. And there are multiple ways to set them up
efficiently and I'm gonna show you a couple of those ways to do that. This one is a bit longer than most
tutorial videos on this topic, but hopefully it'll tackle some of the issues a lot of
people face when they set up multicam setups. So the topics we're gonna look at are setting up
keyboard shortcuts, creating a multicam clip with the sync bin, creating a multicam clip in a timeline, or how
to create it if the timeline's already been created. We're also gonna go over some common issues, like if
there's multiple takes for a single audio file, like if you only have one music track but you
have five takes of a music video. We're also gonna go over mixed
frame rates in case one or more of the cameras was accidentally sent to the wrong
frame rate, and some audio channel issues. So the first thing we're going to
look at up here is keyboard shortcuts. So if we search, the first thing we're
going to search are "multicam cut and switch". So if I pull these down here,
you're gonna see that this is what I have mine set to accordingly, you can pause
and make sure yours is set there as well. Next one we're gonna search for is "lock tracks". And this is because oftentimes when you use a
sync bin, you are automatically locking each track. So we're just going to have these two keyboard
shortcuts right here to unlock all audio and video very easily. Next one we're going to
search for is "nudge", if I can spell. And I'm going to show you these right here with one frame right, one frame left, multic
frame, which is usually five frames. These will be able to nudge your
clips back and forth, single or five frames. The next one we're going to search
for is "select all clips under playhead". This is really useful if you have your playhead in a single position, you want to select
all your clips under that playhead. This is how you do that. You can also go to this trim tab
where you can see all the select functions. If you want to be able to select gaps or select a specific edit point, change the type
of edit point, you can do that there. Next one we're going to search for is "based on waveform". Just make sure you don't go to this media pool one, pull this up and we're going to
"auto align clips based on waveform". So make sure you go to this one
and we're going to set it to "alt S". You can set it to whatever you like, as is the
same with every single one of these keyboard shortcuts. You can set it to what you like. These are just my personal preference. So the first thing we're going
to do is open up these interview folders and I can just toggle down this
interview tab and highlight all of these. And now we can see all of the
clips that are in each of those folders. And you'll notice that I have
this camera number tab right here set. If we right click, we can manually toggle that on. And the reason I'm doing this is
because in the sync bin, if we set these numbers accordingly, they will
actually layer them on those tracks, respectively. This is especially useful if you
have multiple takes of a long interview and your camera has to stop and
restart after a certain period of time. That's why we set those. And so we're going to go to the cut page. And if you go into the cut page and you don't see all of
these clips, like, for example, if I go up here and press this and I just go into one of these
folders, you only see one of these folders. Just make sure you click on the
parent folder, drop this down and then highlight all of your folders there,
respectively, and then they will all show up. So we're going to control A to
highlight them all, hit the sync clips button, and that's going to pull up your sync bin
for you to be able to sync all your clips. And as you can see, each
one of them are set to their tracks. So we're going to go ahead and sync by audio waveform. And that's going to automatically sync all of our clips
and we're going to, you know, scroll through them just to make sure that everything's synced and we're going to save sync. And you're going to see these icons pop up on the clips. And then we're also going to turn on our proxies. If you want to learn more about proxy
media and how it's used, check out this video. I think there's like a tab up here that shows. I can't remember where it shows up. It's up there somewhere. Just click on it if you want to learn
more about proxy media and how it actually works. But I've already generated
mine, so I'm going to toggle them on. And that way I can skim through them really quickly. And if I go to the sync bin, we can
see that our clips have indeed been synced. And if you have a speed
editor, this is a really good tool to use. We're not going to touch that that much today. What we're actually going
to do is go back over to our media pool, because what that save
sync has actually created is a multi-cam. Clip. So if we can't find it
immediately, you can just highlight all of the folders that you used, because
it won't show up here in the cut page. But if you go to the media pool and you highlight
all of your folders that you just had, you'll easily find it. So we can just click and drag
it over to our master folder here. And then that way we have an easy place to find it. I'm going to go ahead and rename this interview multi. And then what we can do with this is we
can right click and we can create a new timeline. And if we open this timeline up, we
have our multi-cam sequence here in the timeline. So now if we click on here
and we toggle our multi-cam and we skim through, we can see
each of our cameras simultaneously. Throughout the entirety of the timeline. And then we can use our keyboard shortcuts. If we wanted to start cutting through
cameras, we can just press our one, two and three keys. And now we're making cuts on the clips
while switching the cameras simultaneously. You can even play this back
and do the cuts as you as you need. If we go to timeline and
turn on selection follows play head. This is also going to help for our switch camera function. So we just showed the cut, but let's say we wanted to
go back and just easily skim over a clip and then press one or two and see if there's a better
camera that we wanted to use in that scenario. We can just keep pressing our switch camera
keys and then that way we don't make additional cuts. But because we have the selection follows play head
tool, we can just hover the timeline bar over a clip, press our switch keys and we can switch
the camera without making a new cut. We also want to make sure
we have stacked timelines enabled. So if we click on this icon
over here and then hit this icon under timeline view options, we can then
see however many timeline tabs we want. So if we go up to our multicam clip, right click and
select open in timeline, we can now see our multicam sequence. And this is what I was
referring to earlier with our sync bin. Every time it creates a multicam
sequence, it'll automatically lock all of our tracks. So if we use that keyboard shortcut here, boom, now
we've unlocked all of our tracks inside of a multicam clip itself. It doesn't matter if we use video or audio, it'll
unlock or lock all of them because the tracks inside of a multicam clip are married in a
different way than on a regular timeline. Now, if we go back to the timeline, we
kind of notice a problem almost immediately. And that's with the audio. The problem with the audio is
it's getting cut to each camera as well. And we don't necessarily want that. We want to be able to have one audio track for
the whole interview or whole whatever we're using it for. So I'm going to go ahead and
undo all of this and I'm going to make sure that this linked selection
is disabled so that it's grayed out. And I'm going to highlight this
clip here and I'm going to press four because I know that's the audio track for
my multicam sequence that I'm referencing. You can also right click and hit switch multicam
clip angle to the whatever audio channel you're doing is. It just happens to be four for me. And now we have our audio set to the correct channel. However, if we start scrubbing through again, we turn
our multicam on and we start scrubbing and we start making cuts. It switches back to the other audio that we didn't want. And there's two ways to circumvent this. The first thing we can do is highlight both
clips and then right click and select link clips. Or we can use the keyboard shortcut
that is assigned to for me, it's control L. And then that way I can do these
cuts seamlessly and there's no issue. The second way to do it is to
right click that audio clip and then go to flatten multicam clip and then
either one of these slot toggles will work. It doesn't matter. And then we can go ahead and keep cutting accordingly. So both of those work. It just depends on what your
preferences and what will work better for you. I tend to go with the first option because if I'm cutting through an interview, I want to
be able to cut both tracks accordingly. But you can always relink them and
then ripple edit your way through anyways. Really quick, before we move on to the music video setup. If you're running a single screen
of resolve when it comes to having both viewers up for some reason by
default, when you have the inspector window open. This window, the multicam window just
disappears and it's only this timeline window. So if we go up to workspace and we go to active panel
selection and its source viewer or we press P, then it brings up both viewers and then we
can bring up our media pool as well. And then scrunch everything together. I don't know why that bug is there for some reason, but by default, it only shows one
viewer of the inspector windows open. So we're going to go ahead and delete these
clips and we're going to move on to the music video setup. So I'm going to highlight all of our things here. And as you can see, there are
multiple different types of cameras. And this is an instance where if I scroll
over to the right here, we have different frame rates. So one of them shot at 60 and the other is shot at 24. We also have an audio channel discrepancy. So we have six audio
channels here and then the rest have two. So if I highlight all of these and I go
to the cut page and I go to the sync bin and try to sync at all, it's going to give
me an error message saying auto sync failed. These clips can't find anything. Oh, no, what do we do? Let's cancel out of that. Let's go over to the media pool. And what can we do? So if I highlight one of these clips that has the six audio channels, I can actually go to the
source viewer here and hit audio track. Now we can see this is what
all six channels are showing and we can see for some reason
only audio channel two has any audio. So what I'm going to do is highlight these go to clip. Happy to get a hard terrain. Right click and select click to have you. Why can't I say clip attributes? Right click, hit clip attributes. And we can see that we have a
bunch of audio here that we don't need. We're just going to delete all but one and change that
to channel two because that's the one that our audio is on. We're going to hit OK. Now we can see our audio channel has been singled out. We'll go back to the cut page. And when we go to the sync clips bin, hit sync. Now everything is synced. So we'll save it and then we'll wait for it to
say, hey, we've got the sync done and we've got it. Here's the multi cam sequence. So I'm going to go ahead and put that in the master again. We're going to rename it to music video multi. Now I'm going to open in timeline first
because there's one thing I might have forgotten. And that's not all the clips were
necessarily meant to be played through the whole music video. So if I scroll up here, I see there's a
couple of clips that are just kind of in the middle. And these were because I knew we did
pickup shots after we shot the full things. So these I don't actually want in the multi cam
sequence because they're just pickups that I can put in later. So what I'm going to do is go ahead and
just redo because we only did three actual takes. So I'm going to go ahead and delete that. We're going to go back into the media pool and I'm only
going to select the first three of each camera instance here. Come on. Click. Thank you. And we're going to worry about
this frame rate a little bit later. So I'm going to go ahead and highlight the audio as well. Go back to the cut page, hit
the sink bin or sink clips rather. Hit sink, sinks at all, save sink. I go back to the edit page and we've
got our clip and let's go ahead and rename it. And I'm going to open in
timeline, make sure everything's set. There was an instance where
we messed up in the middle of a take. So it's really two and a half
takes, but, you know, I'm going to go ahead and hit this plus and
that's going to add an empty timeline. So I can just click and drag this multi cam clip into
the timeline and that just creates a new timeline and of itself. Wonderful. So when I turn on this multi cam
feature, you'll notice it's not showing all of our cameras. Well, if we go down to this bottom right
point, we can actually see all of our cameras here. We don't actually need to see the audio. So and we only have nine cameras, so I can
just go ahead and change this to three by three. And now we see all nine of our cameras. Who would want to edit nine cameras at once? I don't know, but there's people that do. And then I just want to make sure I get my audio set up. So we're going to go ahead and right click here
and select our audio file, which is our logic pro X. And I'm going to go ahead and
just flatten it so it's out of our way. Now, these three cameras are just
three different takes of the same thing. But there's two different ways that we can set this up. We can either sync each of them
by camera or sync each of them by take. We're going by camera first, and this
has less of a practical use, but sometimes it can be useful if we had
complicated handheld shots or complicated movements. And you had to do multiple takes of that one
type of thing during multiple takes of a music video. Again, it's a very niche concept. But in case you did this, you could
look at all of those takes in sequence at the same time and then pick the one
that you think was the best version of it. So the way to set that up
instead of looking at all the cameras at once is I'm going to go
ahead right here, open in timeline. And I'm just going to shrink these
down so I can see each of them much easier. And so we can just duplicate our
multi-cam sequence twice for each camera that we have. I'm going to go ahead and just rename them as well. So this is going to be camera. Just kidding. Camera one. And this will be camera two. Camera two. Come on. And then camera three. I know how to type, guys. Trust me. So now let's go ahead and
make sure each of these are opened up. So I'll right click open in timeline. And now we have each of our cameras here. Let's go ahead and make
sure our link selection is on so that when we highlight the
video, it highlights the audio as well. I'm going to go ahead and delete
all of camera two and three that I see here. So I'm going to go into the camera tab to delete
all of camera one and then delete all of camera three. And it helps to have your clips labeled
too so that you know which ones you're deleting. These are different cameras as well, so it's
easy to see when they have different naming conventions. So we're going to delete unused angles here as well. And then we delete all of camera one and two. And then once we delete all those unused angles, now
we have three different instances of three different cameras. So now I can go back to our regular
timeline, drag camera two down, drag camera three down. And now if I set my multicam on, make sure I change
that to two by two because we don't need to see that many. Now we can see the full takes of each
of our cameras in all of their full take glory. And again, in this particular
instance, this wouldn't really be that useful. What you could do after this, though, is once you get
your all your cuts together, you could stack your cameras on top of each other and then recut them
again with the proper takes that you have. But the more practical way that I find in
most of my scenarios is actually just by going by take. So we're going to go and delete all of these and
then we're going to go ahead and select all of our stuff. We're actually not going to go back to the sink thing. We're just going to bring these in as is. So I'm going to put these on layer one. I'm going to go ahead and click these and
highlight these first three, put these on layer two. And I'm going to go to the last one,
select the first three, put these on layer three, and I'm going to highlight
them, move them away so that they're separated. And then I just have to bring the audio in. So let me go ahead and bring the music in. I need the music to be on the first layer. So now I'm going to use that shortcut to lock all of
my video tracks here and then I'm going to highlight all the audio, press alt down and that
will bring all of my audio down one layer. And then sometimes this can happen, too. So this is good to know. I don't want this to be a mono track
because it's a stereo file so I can right click, change track type to stereo and that's
going to fix our music so I can play back properly. And then for each instance, I'm going to alt
click and drag so that I can make duplicates of this song. And now we can go ahead and
just unlock our video tracks again and then we can use that, select
everything under the playhead shortcut. So I'm going to use that here. And then I can use my based on waveform shortcut. Then auto sync some. So select all, sync and select all and sync. And now they're all synced up. So before we make these into multi
cam clips, we actually need to move this timeline into the master bin
instead of audio because it shouldn't be there. So let's move into the master, click
on master, make sure master is highlighted. Now we can highlight the video tracks, right click,
select new compound clip and then we can just name this take one. Do the same thing here. Name it take two, highlight all of these
compound clip, take three and then simple, easy solution. Highlight all of these in the
media pool that we just made and then we can just right click and hit
convert compound clip to multi cam clip. And boom, we have three multi cam clips just like that. Now going back to that frame rate issue because
the Panasonic had a 60 FPS shot and the other two were 24. The first thing we want to do is
let's go ahead and right click on our Panasonic shot and let's go to find
media pool so that we can just go directly to them. So we see we have our 60 FPS. Let's remember this value. So let's go to acrylic
attributes and change our video frame rate to 23.976 because
that's what the other ones were set to. It's automatically going to change it inside of the
timeline, but then we can just right click, hit change clip speed and then we can change it to the exact frames per
second that it was originally shot in, which is 59.94. Now on the surface, this isn't going to appear to do
anything, but if we go to our inspector under re-time and scaling, if we bring re-time process down, we
can select optical flow and motion estimation. We can either do enhance better or speed warp. I'm going to do enhance better because
it loads faster and speed warp is studio only. But now if we go to a point here where we can
see a decent amount of movement, this is a static shot. So typically this wouldn't be too
much of an issue, but we can turn optical flow on and off and I'm going to go
ahead and zoom in on this and turn off proxy. So it's a little bit easier to see. You can see that we're actually getting different frames. So if I turn this off, you can see
where it kind of jumps every few frames. If I turn re-time and scaling on,
you'll see it's actually creating new frames. So it actually looks like it was shot in 24 frames per
second and moves a bit smoother with what the motion should be. Now, if you wanted to set it to speed warp to get
the better motion estimation, you can certainly do that. And there's ways that we can
actually get it to play back a little bit faster because natively it's
probably not going to play back that fast. So let me scroll here. Let's say you wanted to keep the speed warp effect. What we can do is actually right
click and then go to render in place. And then I would do something like
DNxHR SQ or HQ, something that has like a decent amount of higher fidelity while also
being able to play back at normal speeds as well. So we can go ahead and we would normally render this. I'm not going to render right now, but
that's what you would do if you wanted to keep that. Plus, it'd be easier to get real
time playback and see if it actually works. One last little tidbit on working with multicam clips. I'm just going to go ahead and just remake this real quick. Multicam. If we go inside of our multicam clip, something in the
Fairlight page that's often not known about is if we wanted to do audio effects on the track
level, we can't actually save those. So I'm just going to throw a multiband compressor on here. And so let's say I put it on the track
level and we can see that it was added right here. What I'm going to do is just go back to the edit page and then switch timeline back
forth, go back to the Fairlight page. That effect is gone. But if I put it on a clip level and go back to the edit
page, go to switch timeline back, the effect is still there. So that's the only thing I found
doesn't actually save on a multicam clip. When you do color inside of a multicam clip, that
will save just fine and is actually a preferred way to do it. So you don't have to do color correction on
every single instance of your clip that you've cut. You can just make a change on the multicam clip level. And then that applies it for every single
instance of the multicam in the regular timeline. There was a lot to cover on
multicam clips, and there's still probably a lot more that I could
cover, especially if cameras have no audio. Obviously, I have to manually sync
it in our techniques to be able to do that. If you want me to talk more of this effort, if you have any questions on multicam setups,
please let me know in the comments. And if you see me live on either of these channels on
Twitch, you can definitely ask me questions there live as well. And I'd love to interact with you
and answer any questions you may have. But right now, I need to go to sleep. And you know what I do for that? I take cutscene because that
is 100% natural way to go to sleep. Link in the description. Hashtag not sponsored. Who does this? And does anybody actually do this anymore
when I say like hashtag not sponsored or whatever? I'm not sponsored. Just making that clear. Oh yeah, by the way, that video on proxies is right here. The thing I was mentioning earlier. Go watch that if you want to learn more about
how to make your proxies actually work better for you. Right here. Watch. Press that video. I'm signing out. What are you waiting for? Click it!
