How to FIX Sync Bin - SPEED EDITOR Multicam DaVinci Resolve 17 Tutorial

it's easy just hit the sync button right i bet you're here because you know syncing multiple video clips in davinci resolve is not always straightforward so today i want to share with you a super cool new trick i learned to unlock and fix an existing sync bin group for editing multicam videos with the speed editor in the cut page spoiler alert the brilliance behind this trick is that you can actually open a media sync bin file in a timeline over in the edit page and not be stuck by the limitations of the open sync group command that's in the cut page so this gives you a lot more precision but let's rewind so i can show you three quick steps to prep your footage before you even click that sync button so here in resolve 17 i've got a bucket full of footage from a music video i worked on but there's not much metadata associated with the footage so we're going to go to list view and we're going to be assigning camera numbers to each of the clips that's the key here so if you right click in this column view if you don't have camera number available you right click and you can choose it it's a checkbox right up there so now that that's available we can quickly assign camera numbers to each of them right here by just clicking on it and then typing it in so one this is gonna be my base layer shot this was another take so that'll be two and i'm just gonna go and hit return to make those editable like so and keep going down until we get to all eight angles and just so you know there is also an option um if you click there's a great little metadata i guess it's a tab or whatever up here in the upper right and as long as you're in the the first one the shot and scene metadata fields you have the options here of choosing camera number and i'll do another video at some point about renaming clips using the metadata because it's super powerful i just want to make sure you get the point across that if you assign your camera numbers here first before you try to do syncpin it's gonna make your life a lot easier because it's gonna make sure that you're able to say i want everything from camera one to be on the same video track in your sync bin [Music] the next thing to watch out for is to make sure you have audio on tracks one so if you click this area over here you would think that if you chose zoom audio waveform you saw audio waveforms in fact you could hear them that you'd be good to go but you'd be mistaken let's choose the audio tab right here and we'll find out that actually there's only audio on three and four so we're going to use clip attributes to program three and four into one and two all is not lost so we're going to right click right here and choose clip attributes we are going to say let's make a new stereo track because we know this is a music video and that's what our final mix is going to be so we're going to add that right there and then we're going to delete the rest of these mono tracks because we don't want to use those we're going to be actually using the embedded stuff that's in channels three and channels four and pump that into this new stereo track that is on track one so by clicking okay we essentially have taken this and we fed three and four into one and two so because there's something on one now that can sync so that's the first thing is make sure you have audio on tracks one and the next thing is we want to go ahead and set up our master angle to have the great either field recorder sound or the mastered audio mix from this song that we're working with today so i've already taken the liberty of putting a marker at the downbeat you can kind of see over here if i choose audio track right at the downbeat of the beginning of the song so we have a sync point to it and i've done the same thing here with the audio track you can always do this automatically just so you know there's an option if you right click on them you can say auto sync audio with based on waveforms but what if your audio sucks a lot of people don't know that this is here to do manually so i want to show it to you if you command select both of those clips and go to waveform over here and because both of these playheads are synced up you can then hit link right here this link unlink audio by doing that it has just basically said i want this audio from this separate audio file to be playing instead of the audio that was recorded on this camera for this angle so now if i click this it should be nice and clean and in sync but you get the idea so that is now going to be our master base angle once we go to sync bin and now the final thing i want to point out is all these clips right here they're 3840 by 2160 they're huge 4k clips i can't play these on my old 5k imac from six years ago so what i'm gonna do is create proxies from them really simple to do that i'm going to select them all okay shift click them i'm going to make sure i have my settings how i want for these i'm going to be set to proxy media resolution and master settings to 1 8. this is going to make 480 by 270 clips based off of these so pretty small and at prores proxy but that's what i need to get them to play back smoothly and to actually create them it's super simple we're just going to right click anywhere over here and we'll choose generate proxy media and we'll see that things start cooking while resolve transcodes those files i've got a video linked right here that will not only go over proxy workflow in more detail but there are several other tricks that will help make davinci resolve run smoother for you great so our proxies are all cooked and we know that because we're in list view and we have information under the proxy column right here that says 480 by 270 that's our new resolution but the way we make sure we actually use them is you go up to playback use proxy media if available and check that box now everything's going to be buttery smooth let's jump to the cut page to sync them now shift 3 takes us there and if we shift select the you select the first one then choose shift select gets the last one and we're going to hit sync clips button right here okay now within here you have time code waveform in and out points to sync by we're going to choose waveform today and we're going to hit sync and it's going to analyze the content and i know you're worried hey maybe this is not going to work maybe you have this set up so it is going to work because you've said everything perfectly let's find out what happens and auto sync failed even after we had done those prep steps it's still not working what the heck let's click ok and i'm going to show you how to fix it click click ok you can adjust a couple things right here in the sync clips window and the way you can do that is make sure that you have the track selected here this little camera icon on the one you want to adjust and it's this first one that's out obviously so if you choose this button right here it's unlock sync it's going to let you move it so check that click and you can click and drag and that's going to roughly place it into position it's not great but we're going to fix that in the next step and by clicking save sync and going to the edit page which is shift 4 we now have a new little clip here that was created called media sync based off the date and time that it was done at here's the cool thing you can right click on it say open in timeline and boom just look at that over here i'm gonna hit shift z to see our whole timeline and i'm gonna shift scroll so you can see it's basically it looks just like a multi-cam clip and it kind of is a multi-cam clip the only exception is you can't really add angles in here and have them functional in the cut page that's just disclaimer a little warning but we can adjust the sync in here and see everything which with much more precision because we can zoom in like crazy so let's sync it up we know the one that needs to work on is this v and a1 that's the unlocked one so let's get towards where the beginning of the song is we're going to hit shift and scroll with the mouse to get us in there and then we'll use option which will center that play head up so that we can line this up here's the first downbeat here's our marker of that first downbeat with the the drums we're just going to get that lined up and we're going to be using the option scroll to get us there okay and i'll move this over here get us a little closer now that we're at this stage we can maybe say why don't we use the shortcut keys on our keyboard there's a comma and a period key and those will push things by one frame at a time so i'm going to use the period key here to go to the right and kind of find where it looks best i'm going to zoom in as far as i can and keep kind of adjusting it to where i think it's going to work best and i think right there is going to be perfect because um the loudest part of this waveform is right when that hits and these are really crappy on camera scratch audio tracks so that should be pretty much perfect you can zoom out with ship z shift z and uh and kind of preview how everything sounds we can solo this right now if we want to preview it right i think everything looks perfect now that you've fixed everything with a media sync file you have the option if you want to you can come over here and rename it call this fixed sync bin and you can use that over in the cup page just make sure you're not adding angles here in this page because you're not going to be able to actually use those with a sync ben when you start editing and painting angles on in the next part of this video hey i'm chadwick and if you made it this far i just want to welcome you to creative video tips if this is your first time here it's all about helping you create videos that make a difference and stand out so if you're into that click subscribe right now with the bell so you don't miss out on the new tip next week i mean why not it's free and i'm sure at this point you're wondering why even bother using the sync bin instead of the old traditional multicam method in the edit page and three reasons i came up with are one it's well it's really fun to use the speed editor uh two to color correct you don't need to flatten anything like you do with the traditional multi-cam clip and three well it's the new way that blackmagic design built to do the same old task of switching angles so i can only imagine that this is going to get better as they develop it further and no this channel is not sponsored i'm just a big fan so now let's take a look at how to use this fixed up sync bin that we created with the speed editor over in the cut page [Music] we're going to use the speed editor on a new empty timeline with our sync pin by calling up source that'll get us our source tape and we've got our clip here that has the good audio the synced audio maybe it's our field recording to find the import we're going to hit jog to sort of see a refined view of those waveforms hit i on the keyboard or on the speed editor we're going to hit scroll to go back out to the zoomed out view hit jog again to go back in and see the detail hit out and now we have a marked region that's going to work great and we're going to append it to the timeline append is this button right here we appended it down we can hit timeline and we have a great base layer with our good sound that's ready to sync everything to okay so now that that's ready to go we hit sync bin it's right there and we can see everything is synced up and ready to paint on now you want to only paint on the video portion of the angle and the way we do that is there's a video only button right there so we'll tap that and so what that's done is we're not going to be putting down our bad scratch audio from the cameras we're only going to be using the audio that was synced on track one okay now we just need to find an angle to put down there why don't we go to angle six right here and we'll hold down six cam six and rotate that and it just basically paints it on okay it's a it's all done with that search style and if you wanna see in the upper right window in sync bin it goes from orange to from one to six so that's how you know what angle we're going to be seeing on the timeline but if you want to see it full screen just hit timeline with the speed editor hit play okay and then you can see it full screen let's go back to sync bend because i want to show you next how to use live overwrite live overwrites this button right here it's their live switching implementation and what this does is it makes it so you don't have to hold the button down while you're scrolling so let's say we want to go to the female vocalist five right there that's lindsay we're gonna hit five on there and as soon as i start scrolling it paints it on without me touching the cam buttons okay and on top of that with live override these buttons here have little glowing lights if you want to add a dissolve on the cut you can hit that and then when i choose the next angle it's going to add the dissolve so what if i wanted to go to keys from this angle i would hit four that's the key angle and it dropped the dissolve for me and you just keep going real quickly what if i want to go back to one from here back to six you can see it it's pretty quick to do that um to get out of live overwrite or the dissolve you can just hit that button and it kind of goes away and we can see those angles switching up there and then if we want to preview them we can hit timeline to see in full screen okay and kind of shows time passing is kind of what cross dissolves do but anyways the the big thing i really want to show you here that is super duper cool is the source overwrite button okay source overwrite in the manual says you have to have sync time code but i'm going to tell you you actually don't if you set everything up like you did for our sync bin today you can use source all right and so to use source override we're going to be calling up our sync bin again okay and this is going to kind of let us find a great moment from one of the angles at once at like in full screen so let's look at camera angle 8 okay so i'm going to hit 8 on the speed editor that lets us see everything full screen and by default it has marked a five second region of the clip maybe that's what we want but maybe we want more or less than that if you just want that you just hit source overwrite and it has found the exact same point on our timeline hitting timeline again to where that that that clip goes so if i hit play sorry let me pull that back right there it's a nice little shaker action um but what if i don't want just that that you know five second area we can mark it however we want so hit sync ben again and let's let's pick a different angle let's go to um angle six we want to see six full screen hit six right here that lets us see it full screen and i want that little squinting on the face right there that's a good spot i'm gonna mark an i with the speed editor mark it out and now hit uh source overwrite and it just puts that smaller section or that region there on the timeline so and then to see it you hit timeline full screen okay so that works good and then the other thing to note about source override that's really great to know is you can find like a boring part on your timeline and then go the reverse direction so let's mark an endpoint there and an out point on the timeline you can see those marks are set and i go back to sync bin and i want to fill that section with a different angle up there but i don't want to mark the source let's say i want to use angle 3. i'll hit 3 on there and i'm going to clear the marks with tapping ino at the same time okay that clears those marks so the only marks we're seeing right now are actually down there on the timeline okay and to drop that down we're going to hit source overwrite and it found the exact moment on the timeline that is in sync with that clip up above so if i hit timeline we can see we can go straight to that guitar close up pretty slick right so you can start with the source you can start with the timeline it's really flexible and it's always going to call up that clip for you and you don't even have to have sync timecode so that's super super handy and this is really just the beginning if you like this video you should check out my davinci resolve playlist right here there's so much good stuff in it and i also want to shout out guilia de la torre who introduced me to the opening timeline tip sorry if i said your name wrong but since there's so much more to learn i will see you in that next video

Channel: Creative Video Tips

Views: 11,897

Keywords: How to FIX Sync Bin, SPEED EDITOR, SPEED EDITOR Multicam, DaVinci Resolve 17 Tutorial, davinci resolve speed editor, sync audio and video, how to sync multiple cameras, sync bin davinci resolve, creative video tips, paint video angles, source overwrite, source overwrite resolve, multicam davinci resolve, syncing audio and video, cut page, cut page tutorial, davinci resolve 17 tips, blackmagic design, sync multicam, auto sync failed, no match was found, davinci resolve sync

Id: 7LoYeWJgSoQ

Length: 14min 32sec (872 seconds)

Published: Tue Apr 27 2021

Reddit Comments

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[u/proxicent]

Another tip: you don't actually need to open Sync Bin to use Source Overwrite, it will sync regardless. This is really nice if you just want to focus on looking for interesting moments in individual source clips to add.

[u/CreativeVideoTips]

Get more control “inside” the SYNC BIN to use the DaVinci Resolve Speed Editor in the Cut Page for Multicam editing. This is a super freaking cool little trick you need to know!

[u/dschapin]

Upvote!