Hey everybody it's CameraTim and I'm gonna show you how to do multicam workflows with camera matching and color management and stuff! I stream on Twitch every Monday and Wednesday morning at 9am Eastern Time on the STREAMSIX Official channel, and you can also find my personal channel that maybe I'll stream to every once in a while, but who knows. Don't forget to ask me questions... on either channel. So this video is specifically about using multicam workflows, especially when you have different camera manufacturers inside of your multicam project that you need to color match. Now this project in particular had the music recorded live, so it's going to affect how we're going to sync it. Now because we are going to be color matching different cameras, we're going to set up our overall color management for the project. So we're gonna go up here, into our file, project settings, and I already have it set up, but by default you're going to see it show up as DaVinci Wire GB. We're actually going to be changing this to DaVinci Wire GB Color Managed. We're gonna uncheck automatic color management, and then we're actually going to bring this dropdown all the way down to custom. I'm gonna explain each of these steps individually, and a lot of the explanation in this video is actually going to be somewhat oversimplified for the sake of understanding and for the sake of example. But for the most part the descriptions will be, you know, as accurate as I can make them. So it looks like there's a lot of foreign language stuff here, but this is actually somewhat simple to understand. And the first thing that we need to do is specify our input color space. Now what is an input color space? It's basically telling Resolve, "This is what I shot in." Now obviously in this case we have three different color spaces that we're going to be working with, so this step actually doesn't matter too much. But I'm going to set it to my primary camera anyways, which is Fujifilm F-Log. And then our timeline color space, now this gets kind of misconstrued, but timeline space, think of it as the actual space that you are color grading in, or a working color space. And that we're actually going to set to DaVinci Wide Gamut, DaVinci Intermediate. And then our timeline working luminance, we're actually gonna bring this down to custom. Now this is kind of interesting. So think of the timeline working luminance as the bucket of brightness that you can work within. Some of the highest end cameras only reach roughly, I would say, 5500 nits or something around that line. I don't know what the exact number is. But there's not really a reason that we would want to constrain ourselves below a certain point, so we can just max it out and work with the largest bucket of luminance possible. Unless you had a very specific reason for constraining your luminance to hit certain values. But for the most part, we're just gonna keep it here. And then our output color space is what our display is actually going to show. So this essentially will be what gets transformed after we do our entire color grade. This is what it's going to display and export as. So just to recap, input color space is what we're bringing into Resolve. Our timeline color space or working color space is what we're actually grading in. And our output color space is what's being sent to our display and is being applied after our grade. Now limit output gamma, you really don't need to touch this unless you have a specific reason that you're, let's say you're working in a different space where you're delivering HDR but you don't have an HDR display. So you would want to set to Rec 2020 so that when you deliver, it really maps your gamut. But for the most part, you're not really going to need to touch this. So you can just leave that at whatever the output space is so that they're the same. Now your input and output DRTs. Now DRT stands for display rendering transform. But essentially what that means is it's tone mapping your footage when it comes into Resolve and when it comes out to your display. Now there's multiple schools of thought on how you want these to be set up. But there's two terms that we're going to explore real quick to determine whether or not we actually want an input display transform or not. And those two terms are display referred and scene referred. Now without getting too technical on what those actually imply, think of scene referred as this is what your camera captures and display referred as this is what your display can actually physically show because the two are not the same. What your camera captures is not the same as what your display can show. So working with log or DaVinci wide gamut or aces, those are the types of things we would refer to as scene referred because those are spaces that your display can't physically reproduce. But something like Rec. 709 would be display referred because that's the type of color space that your display is actually physically reproducing. So knowing this and knowing that we're coming from a log space and going into a DaVinci wide gamut space, we actually don't want an input DRT set up because we're actually going from scene referred to scene referred still. And technically DaVinci wide gamut is actually a larger space than a lot of log formats. There's a couple of few exceptions, like in some cases an airy color space actually has colors that it can see that DaVinci wide gamut can't see and vice versa. But for the most part, most log formats actually are smaller than DaVinci wide gamut. So we don't want to tone map to DaVinci wide gamut because it actually reduces the range that you can work in. And I'll show you an example of what this looks like later on. So I'm just going to send my input DRT to none right now and then I'll hit save. And normally when you have footage in there, you most likely won't see a change in the footage, but that change will be reflected after we set up our sequence. Now, before we even set up our timeline, we're actually going to go back to the media pool and I'm actually going to switch my scene over here. And there's an interesting little toggle. If you right click on this bar in your side of your media pool, you can actually select camera number and then we can actually go in and highlight all of our camera folder so we can see all of our footage. And we can specify which camera number each of these are. And this is especially useful if you have multiple takes. So then once we've done that, we can click on that part and press F2 and we can change it accordingly and just go down the line and rename them all. But once we've done that, we can actually go back to the cut page and we can make sure we bring this down and we're going to go to highlight all of these. Now, in this case, I'm not going to select the audio because it actually matches only one of the selections of our clip. So I'm actually going to sync that later. But if this was something where it was a single take or you're doing a recording of a live event or you had a song that synced with each instance of your takes because they were playing back a recording, then that would be a case where you'd want to select the audio and sync it this way. But there are other variations of this. But what we're going to do in this instance is we're just going to select our footage and then we're going to hit this sync clips button. And then we're going to see because we numbered our cameras in the media pool, they actually are numbered and separated according to track. So once we've done that, we can hit sync. Now, we had a couple issues with recording when we first did this. So the sync will fail a couple of clips, which is OK. The primary thing is we actually got a primary take synced and that's really what we need. And we can unlock these syncs by pressing this and clicking on the lock sync and unlocking each one because we're going to have to rethink some later. But the key thing about using this page is that once we hit save sync, what we've actually done, and if we go into the edit page, if we just click on the song five folder, you'll see we actually created a multi cam sequence right here. And I'm going to just drag that into my multi cam folder here, going to rename it song five multi cam. Now, in some instances, you would probably want to create your own multi cam sequence and you can simply do that by just going into your folders and then dragging each of your clips onto a timeline separately. And then once you create all of the things that you need, then you can go back into the folder you created a timeline in. You can right click and select convert timeline to multi cam clip that would effectively do the same thing, except you have to manually sync everything. So we're going to delete that for now. So now we're going to go ahead and just open this in timeline so we can actually see what our sync looks like. And obviously, these did not sync properly. So what I'm actually going to do is I'm actually just going to remove these for now and I can add this stuff later and then manually sync them. So what I'll actually do right now is I'm actually going to go back into my pool here and because the takes lined up properly, I can either just bring each of them into their own layer. I'm just going to click and drag so that they're all in the right spot. And if I go here, I can see that we have the takes that we need. Sometimes we were just doing a single spot in the song that we needed to reduce. So that's why the lanes don't match. And then we have one instance where I think a camera died, but, you know, it happens so we can automatically sync and sometimes one camera doesn't have the audio quite right either. So we have to actually look at the audio sometimes and see exactly where it sinks. It's probably roughly around there. But we can go to this next one, sync it. It's probably offline because of proxy media. And this is an instance where two of them will sync and one of them won't. And once again, we can just find out where that happened. I think the camera died at this point. But at the end of the day, I'm actually just going to be disabling all of these in the first place. And we're really just going to be focusing on this section here. Now, when doing multi-cam editing is a couple of shortcuts that are really, really useful to have. And I talked a lot about this in the podcast editing episodes. I'm not going to go too much into that right now. If you want to see more, please go watch that video because there's some insightful stuff, I think. But if I just type multi in the search bar, I'll see these multi-cam cut and switches. These are extremely useful to have when you're multi-cam editing. Now, what I actually want to do with this multi-cam sequence is actually put in its own timeline. So I can create a new timeline using that multi-cam clip. I'm just going to call it Song 5 because I already have a previous version of it. I'm just going to drag that into my cuts folder so it's separate. But I can click on it. And then now, if I go to my edit page, this is my multi-cam sequence here. And if I want to see it in a multi-cam viewer, I can just click multi-cam in the source and it's right here. And I can skim through and see all three angles or however many cameras that you have in your source viewer. And this is where those keyboard shortcuts come in incredibly handy. So I can press 1, 2, 3 and just make cuts into the timeline without having to make any extra razor edits or pressing cut edit and switching the cameras and clicking on things. I can just press the number of camera that I want to switch to. And then let's say I made a mistake and I actually wanted this to be camera 3, I can just press 3. And that'll switch the camera on the clip that you have selected without making a cut. Now let's say we wanted to see this multi-cam view while we were in our multi-cam sequence. A quick little tip for that is make sure we can go back to the beginning of the timeline here. Double click this to make sure we pull up the multi-cam in the source viewer. We can go into the multi-cam sequence here. And then what we want to do is bring this timeline bar back to the beginning as well. And then we can go up here to this toggle in the source viewer or the preview window and hit gang viewers. And now if we scroll through inside of our multi-cam sequence, we can see all three cameras as we scroll through. Now if you're on a single display and not a dual screen, what you'll notice is that if you have the inspector window open, it'll only show one viewer. So make sure the inspector is disabled so that you can also see this view. And so now we're going to want to color match our footage. So the ideal scenario here is that we see a spot in all three cameras that are somewhat similar. So we have something similar to reference and to grade two. So thankfully the Panasonic camera is pretty much the same throughout the entirety of the clip. So what we want to do is find a spot on the Sony and the Fuji that are somewhat similar on the Sony. It's probably going to be right around here. So I'm going to go ahead and just drag the beginning of that to that point. And then we're going to find a spot on the Fuji that's somewhat similar. It's probably going to be around here as well. So I'm going to drag the beginning of that there. And then I'll just make sure the clips don't overlap. So when we're on the color page, we don't see any overlapping when we're trying to click on individual clips. And we want to do our base color correction and grades in the multi cam sequence so that we don't have to change every single clip that we cut inside of the regular timeline. So let's go ahead into the color page. I'm actually going to switch off of dual screen so that we can see our waveforms and vector scopes, because those are going to be very important for what we're about to do. Before we actually start the grade, though, the key thing we want to make sure of is that all of our footage is tagged accordingly. And this goes back to the input color space thing we talked about at the beginning. So I'm actually just going to go into my media pool, highlight each folder, or I can just go into an individually. It doesn't really matter. I'm going to highlight all my Fuji footage. And I've already done this, but I'm actually just going to go into input color space, make sure it's tagged as the right thing. Now, the Panasonic camera did not actually have V-Log on it. So this was actually recorded just in the normal sRGB space. So I'm going to tag that accordingly. And then this Sony camera in particular is the original A7S. Don't judge me. I shot that in S-Log2. Now, if the footage was not tagged, you're likely to see something that looks like this. And that's why we want to tell Resolve, hey, I don't want you to automatically tag these as a certain color space. I want to tag these myself so that when you do tag the input color space on each individual clip, it ignores the project setting preference that we set. So with all of our footage tagged, we can go into the color page. And because we made those adjustments on the clips to start at a different spot, I'm going to turn off dual screens so that we can see our waveform effector scope, because that's going to be very important. If I just pull up the clips here and I click on each of them, we can see they start each at a spot where we can somewhat easily reference them. Now the Fuji is going to have the best overall look of each of these cameras, just based on how it was shot. And the key thing we want to focus on in this preliminary grade is we're just trying to match all three cameras. We don't want to focus on creating an overall heavy aesthetic for the whole piece. So I'm going to start by just getting the Fuji and it already actually looks like it's on a pretty good spot. So there's not a ton I want to do with it, but I do want to adjust the white balance to get rid of just a tiny bit of that green shift that it's showing. And if we look at our vector scope, you can see here's a tiny leniency towards the yellow and green side. And we can see that even more if we pull up our show two times zoom and skin tone indicator, we can see that this is likely where all those other colors and skin tones are going. We don't really want it to be that far over to the yellow. So we're actually just going to adjust for that now. And I'm going to talk really quickly about a concept of using linear. Now, this is why using color management is so important so we can individually tag our nodes to be in gamma linear. And basically what this means is that I want to work in a space as close to how the camera captures light as possible, because if we think in linear and practical terms, if we have a light bulb that's 400 lumens and a light bulb that's 800 lumens in a linear domain, the one that's 800 is twice as bright as the one is 400 lumens. Right. But when a camera converts that data into a digital format or a video format, that is not always the case. In fact, it's quite never the case. So what we can do when we put something into linear is basically saying every adjustment that we make on our gain wheel will basically be as close to a one to one adjustment in exposure and color adjustments that we can get in post. Now, because we got exposure pretty much where I want it in this instance, I just want to get some rid of some of that red and green tint so I can just click on the color wheel and just drag until I think it lands on the vectorscope relatively I want it to. And I think this is probably good for now. Get a little bit warmer and call it a day. And we can see we surf back and forth. You can see, like before, we definitely had a somewhat of a green shift on here, whether it's from the lights or the white balance on the camera. We wanted to compensate for it. So this is essentially where our target is going to be for the other two clips. So we're going to go ahead and go to the Sony. Now, if we notice almost immediately, we definitely have an exposure difference. So what I'm going to do is I'm going to click on the split screen view right here and I'm going to select the selected clips option and then I'm going to control click our Fuji. And then you can clearly see that there is definitely a discrepancy in exposure and color. So I'm going to remove the clips for now so I can pull this a little bit bigger. And I'm actually going to turn my proxies off. I'm going to make another video on proxies, I'm sure, because that revolutionizes your workflow, too, especially with multicam editing. But that's a separate video. So the first thing I want to do is actually go to our waveform and we can definitely see this first half of the waveform is what we see on the Sony. And then on the second half is what we see on the Fuji. So, again, we're going to go into linear gamma and we're just going to pull our gain down till we get somewhere that's really close. And the great thing about working with linear gamma is that when we think of light stops, gain actually does that in a mathematical equation that's two to the power of one. So essentially what that means is if we push gain up to two, that would mean that's one stop more. Or if we go up to gain of four, that would be two additional stops and the inverse is true, too. If we go down to point five, that's taking away a stop and then point two five is taking away two stops. So it looked like it was roughly one stop over. So if we bring this down to point five and pull it one stop, that's honestly pretty close to the same exposure. So it looks like I expose them pretty similarly to how their log patterns would handle light. So if I just bring if I shot the Fuji one stop over and the Sony two stops over, bring the Sony down one and now they both are nearly matching. So we got our exposure where we want it. And I would say that contrast is probably close enough to where we don't need to worry about it right now. But if we did, we would work on this node here and we could call that our ratio for contrast ratio. But in this instance, we probably don't need that right now. So what we're going to do is we're actually going to bring this to linear as well and we're going to adjust the balance on our gain to get the color where we want it. And I'm going to bring up my vectorscope so that we can see both vectorscope views right here as well, which is really nice. So we can just try and line them up the best that we can. And we're going to notice an issue here pretty quickly. So we're going to get it as close as we can right now, which is going to be roughly in that spot. And we definitely notice an issue. There is an interesting hue shift that's happening on the Sony. And we need to be able to account for that. So we're going to apply an extra step here. Now, what I'm going to do is I'm actually going to right click on this node and I'm actually going to make a parallel node. This is not necessarily a requirement. This is just something I like doing personally. But what this means is if I connect this back part into this node, that means these are now two different flows. So what is that whatever is happening on this node is not paying attention to these adjustments here. This is operating on the original image. And again, this is not something that you have to do. But in terms of working between exposure and overall white balance and then doing fine tunings with color like as secondaries, it feels better to do two different lanes of stuff. Just don't do any blur effects or anything that's what's known as spatial adjustments in this and either layer because they don't mesh well when they come back together and can create a lot of artifacting. So normally you would either use a color warper or you would go with hue versus hue. What I'm actually going to do is something a little bit different. I'm going to bring some new concepts, but I'm going to right click on this. I'm actually going to go to color space. HSL. Now HSL, you can probably figure out what that means is hue saturation and lightness or luminance, but it actually stands for lightness. There's also HSV, which we'll get into in a second. It's also hue saturation, but it's value and they calculate hue and saturation differently because of that third parameter. But what we can do with HSL is if we go into our RGB mixer. Now what we have is instead of red, green and blue, we actually have hue saturation and lightness. And the key thing here is you make sure we want to have preserve luminance unchecked. So if we increase and decrease our blue in the blue output, you can see that indeed affects the lightness or the luminance of the image. And if we do the blue in the green output for saturation, you can see increases and decreases saturation. And we're going to play with this in HSV a little bit for now. But what I'm actually going to do is just rotate the blue here, just a tad in the negative direction to try and compensate for that hue shift to try and line up those hues in the scope. That's already looking pretty close. And if we find that we can't get precise enough, what we can actually do is go to our key button right here and we can actually adjust our key output. And then that way we can bring this down. And what this does is it reduces the effect by a multiplier of this gain. So essentially, if you put it to 0.25, it's only applying a fourth of that effect. So this is really good if you want to do finer tuned adjustments to pretty much anything really. So we can move that and get a little bit closer if we wanted to. Right about there is probably good. Now, we could potentially do the saturation as well to move back here. And I actually might even do that, but I'm not going to do it on this note. I'm actually going to make a new one because this is our hue shift. So I'm going to make a new node here and I'm actually going to change this one to HSV. Now, the saturation operates a little bit differently on this one. Now, if we just wanted to operate on saturation, there are a couple of ways we can do it. We can right click on it and select our channels and then we can just disable channels one and three. And then we wouldn't have to worry about it at all. However, we can also just drag the green channel in our gain and it would effectively do the same thing. So I'm going to go ahead and just move this around here and we can see how that's affecting our saturation. I'm just going to bring it down just a touch. I think we are getting a little bit more of a redshift. So I'm actually going to go back here and just push this a little bit back where it was. And that's looking a little bit better. So now that we've pulled back our saturation, we are getting a little bit less of a contrasty look. So then we can actually just go back and make our own contrast adjustment here. Now, there's another interesting tip. Because we're working in DaVinci Wide Gamut, we actually know that the middle gray point for DaVinci Wide Gamut is actually 0.336. So if we put that in our pivot and adjust our contrast that way, we're actually adjusting contrast on middle gray, which is pretty nice to have. But if we don't want to do that, we don't have to. That's obviously not a requirement. So we can just maneuver our pivot here until we get a look that's somewhat similar. We don't want to add too much contrast, but we just want to get the look somewhat close. Looking at our waveforms, making sure that our high points and low points are somewhat close to each other. And if we don't want to do any saturation adjustments, we want to keep saturation the same. We can also go into our HDR wheels and adjust contrast pivot from here as well. And this actually preserves saturation. When you adjust contrast in your primary wheels, they actually increase your saturation because it's making your colors more dense. But the HDR zone contrast pivot does not do that. Either one is up to personal taste. For me personally, I'm actually going to do my contrast pivot here, get it to a spot where it's looking pretty close. And we'll probably just reduce the saturation just a little bit more just because we added some contrast to it. And check my vectorscope, see where colors are at. And it made a pretty decent adjustment here. Obviously, it's not like 100% perfect. I could do a little bit more fine tuning to it. Like if I wanted to work on her shirt a little bit, I could add an additional hue versus hue adjustment and really just hone in the shirt a little bit more. Just really show that green. And then adjust the saturation of that same color as well. And we just add that little bit of extra finesse to the shirt. But the key thing about the whole color matching is that you want to do as broad of strokes to your nodes as possible before you start doing the really fine tuning stuff. Because the closer you can get with broad strokes, the less your footage is going to break. So now that we got that in a somewhat reasonable spot, we can go back to our clips. I'm just going to select the Panasonic and back to the Fuji again with highlighting in both. And we're going to take a similar approach. Let's go ahead and pull up our waveform. And the first thing is we actually probably want to bring exposure up on this one. So again, we're going to go to linear, bring up our gain. And we don't even necessarily have to follow the exact stop rule because I think going up to 2 is probably a little bit too much. So I'm just going to bring it down to about here. That looks pretty close. Now, what's interesting is our contrast is actually too heavy in spots. So we can see our blacks and our dark areas and our brightest area are looking somewhat clipped. And obviously it's because we recorded in a much more confined space. The camera wasn't meant to hold as much dynamic range as our other ones were. So we are actually going to adjust our contrast here and we're going to go ahead and actually do this on middle gray. So we're going to go ahead and go to 0.336 and just start reducing contrast until we feel like we have something that we can work with in our shadows. Probably around here is good where I can push things and move things as needed. So I'm going to go ahead and make another node and we are going to go ahead and do our balance now that we have our exposure and contrast where we want it. So go back to linear and let's go to our vector scope. We're going to bring this up until it lines up as close as we can get it. And that's looking somewhat close. So we're going to go ahead and add a parallel node. Now the odd thing that we have going here is that some of the colors are more dense in some of the highlighted areas and then significantly reduced in the shadow areas. So basically what we want to do is we want to almost compress our colors in a way. So what we can do there is we can go actually back into HSV and then this is an interesting trick. If we bring our gain down in the green channel, let's just say we bring it down to 50 or so and then we bring our green up in gamma to there. Effectively what we've done is we brought the highest points down and then the body of the colors up. If I just turn this off here so we can see the full clip, I'm going to turn the clips off so I can zoom in a little bit more. If we just take a look at the vector scope, you can see some of these outer regions are being reduced in but the inward parts are becoming a little bit more round. It's kind of hard to see because the clip doesn't have a ton of contrast and there's not like a whole lot happening but you can especially see in these highlighted areas and especially on some of their faces. When I turn this off, they have reduced color on their faces but there's an increased color on the background because the background was so heavily colored. But then when I turn this on, it kind of brings them in a little bit more and gives just that little edge that we need to reduce our color contrast as it were. So we'll bring this viewer back up and the next thing we need to do is just make sure we can control the primaries part of it so we will make that node afterwards this time. And let's just go ahead and start pushing our gain, bringing our lift down to where those parts are and then we'll just bring our gamma down to make that density really work. Push the gain up a little bit, make sure those highlights are going where they should. And a lot of this will be by eye but it's also by waveform as well so it's kind of a mixture of the two. But we really want to make sure those areas are looking somewhat similar. And overall that's looking pretty, pretty good. We can always go back and reduce the amount of saturation we're pushing into it if we need to but we actually are pretty close. And then there's no really overwhelming hue shifts it seems and if I go to our vector scope and just turn this off and on, you can see that the color is actually lining up pretty well. The only things are that maybe the shirt and jeans are a little bit slightly off or the shirts like the reds in the shirts. So we can again make a new node here and go to our hue versus hue. Find our red areas. Now we just have to be careful with the red areas because the red and especially magenta is typically the hardest part to dial in just because it's one of the weakest part of the signals when a camera takes in light. So if I move this around I don't want to touch their skin tones as much. I just want to get a little bit of an edge on that shirt just to see if I can push the shirts any farther. And if I need to I can set a dot here and just bring that down to zero so that there's no change past that point. And then I can bring this over a little bit farther and just really try and work on only those shirts. Looks like I found a pretty decent level. But again this is why you don't want to use hue versus hue as your starting point because you can get breakage pretty easily. So you again want to get as broad of strokes as you can. I'm going to set a point here so I can try and smooth this out as much as possible without adding any breakage to it. And if we go back we do get somewhat closer and we can see that we do get a little bit of shift here and that's probably from his coat. So definitely want to dial that back in. Just get a little bit of shift. Adds a little bit of difference but we do have a much more reasonably matched camera now. We have our colors dialed in. We have the exposure dialed in. We have our contrast ratio dialed in. And now if we go to our edit and we look at our multicam, bring our clips all the way back out and we double click here. Go to multicam. Gang viewers. I gained it at the wrong spot but we're just going to ignore that. The cameras are looking a lot more like and pretty much the only thing I would potentially address is the exposure in the Sony. I might reduce the contrast in some of the areas just to because her face is a lot darker than hers is. That was also due to the lighting. It's not as evident on some other shots. So it actually is pretty close but I digress. But what's great now is that we can actually go into our normal timeline and if we have a bunch of cuts but we don't want to make adjustments to all the clips. Now that we're in a uniform space we can actually just go into our color page and then we can go into the timeline panel. And in our timeline panel if we make a new node here we can make adjustments on all of the clips at once. So let's say we wanted to just do like a base contrast look so we can bring in that classic low con look where we can raise our shadows a bit but still have like deep looking shadows here. We can do that. And now it's applied to everything in the timeline so even these clips got it and we have a pretty decent look that's applied through the whole thing. Now that all the clips are color matched the adjustments that we applied to them are relatively similar and we can do much quicker work this way. And then we can cater to each individual clip as necessary but without having to fiddle with all of the different color matching aspects. And these are just some of the few amazing techniques that I've been able to discover from some of the other amazing resolve users in the community that I've kind of just compiled and stolen. I mean use content from but if you really want to dive deeper into color science and color management I strongly suggest Cullen Kelly. He has amazing videos on color management working in DaVinci Wide Gamut and ACES and approaches a lot of things from a color science perspective. Definitely go check out his content. So hopefully this video covered some really good tips for you for your multi cam and color matching needs. If you have any questions or have any ideas of what you would like to see in the future please leave a comment down there. And once again I do streams on play both lower thirds and let it do its thing because sometimes it takes a minute to see both lower thirds because there's two of the oh wait they're gone. Whoops. Well I guess it's done. Go watch this video right here on podcast editing because that's cool. I guess you know just watch it. Bye. I said bye.
