Hey everybody it's CameraTim and I'm going to show you how to edit a podcast in DaVinci Resolve and stuff. So in this tutorial, I'm going to try and cover multiple different types of podcast editing, whether that's doing everything in person or doing remote recordings, this won't necessarily focus so much on the recording aspect of the podcast, but it's going to focus more on the editing. And just as a reminder, I stream every Monday and Wednesday morning on the Stream6 official channel. And sometimes I'll stream on my personal channel and do stuff there. So if we hop on into Resolve, I already have two podcast episodes that I've done here. One was in person where I had multiple cameras set up and the other was a remote recording where I had recordings of all three of us separately. So I'm only going to touch on the sync bin inside the cut page for a bit because we're not really going to focus on that as much today. But the first thing I want to show in terms of the sync bin is if we actually go to our media pool, we can actually see we have a camera number tab. You can right click and select that here. And what this will do is if you have multiple files of the same camera, you can specify which camera number that belongs to. So when you go into the cut page and you go into that folder, you control a to highlight everything, assuming all of your clips are in that same folder. You can just click on this sync clips button up here. And they will all go to their respective layers. Now, this one doesn't sync quite as well as I had hoped it would. But if you did, you would have the sync by audio waveform. You could hit sync, let it do its thing, and then everything would be reordered correctly. But in this case, we're not going to do that. What we're actually going to do is we're going to go to the edit page. And because I already named my clips so that I know which number they are, I'm going to go ahead and throw the audio in first and I'm going to throw the audio into the first layer. And there's a reason that we're doing that that way. But I'm going to go ahead and lock the audio layer, highlight all of my camera one clips. I'll throw these here. I'll go ahead and grab shift and click on the second one, bring those in here and do the same thing with the third one. And I'm definitely going to have to shift these. So what I'm going to do is I'm going to unlink this link selection here and now I can highlight all of these pieces of audio. And I'm going to press alt down and that's going to move them all down a layer. I can go ahead and reselect this link selection. So then when I highlight everything, it highlights both video and audio as well. So now I can just click and drag and click and drag again. Now I can unlock this. And because I already know also how these kind of synced up, I can move these. And the reason that this is key is because it's going to base the sync off of the first layer audio file. So if we wanted this audio file to not move, we would place everything on top of it. So now if I highlight all of this and press alt S or whatever you have your keyboard shortcut laid out to be, it's going to analyze that content and it's going to sync them accordingly. And the reason I specified that we want to have the specific audio we're using on the first layers, because we have an instance where this audio layer spans across two takes that I had. So what I can do is I can move the second take a little bit farther ahead so it doesn't get overwritten and I can highlight and sync those up as well. And because I kept the audio on the first layer, when I highlight the second portion and sync it up, the audio file doesn't move. So I don't have to worry about the first portion having to be resynced and moved and stuff. It just makes it everything a little bit easier. And then we can just sync the last part of it as well. Now that everything's synced, there's a couple nifty keyboard shortcuts that we're going to go over. The first one is going to be split clip and I believe by default it's control backslash. But if you just type in split clip, you can find the keyboard shortcut. And I have it set to C because that means cut to me. You can set it to your preference. But this is one of my most used keyboard shortcuts. It completely eliminates the need for the razor tool. I haven't used a razor tool in like 10 years. And what we can do with this now is we can just cut off the edges of it. I'll make sure snapping's on because that wasn't on. By the way, press S. So I'll just cut that and I can press shift A to select everything forward from that and just drag it over, right it. I can go to the end by pressing down to go to the next edit point. I can cut here too. And this is another useful thing. So as a resolve 1815 beta, they finally added a way to select all clips under the playhead. I have that bound to shift D personally, but I can just select this area press shift D and delete it. And basically I'm just making it a clean cut here and then I bring everything together. So the idea of this is just to make everything a lot more clean so that when we go into the next step, we don't have as much of a mess and it's just easy to find everything here. I got to make sure team's notifications are off. What do you want, Eddie? So now that we've built out our synced timeline here, what we can do is we can right click on our timeline and the first thing I'm going to do is I'm just going to press F2 and rename it to multi cam. And what I'll do is I'll right click it and then select convert timeline to multi cam clip. And then it immediately gets rid of our timeline because it's now no longer a standard timeline, but all we have to do is just click and drag and boom. We've made another new timeline so we can just call this rough. And now we have our multi cam timeline. So if you're on a single monitor workspace, there's a little trick where we can actually enable a multi cam view on the source viewer. There might be a little bug with this, but I found a slight work around to make it work. The first thing we're going to do is we're going to go up to workspace and we can see active panel selection for source viewer is set to P. So that's the shortcut I'm going to use. I'm not going to go through this window every single time I want to press it. So what I'm going to do is I'm going to press P and that's going to bring up our source viewer and what we're going to do, it's already set to multi cam clip here, but we'll just make sure we select it. So we'll select multi cam. It's going to default back to the program window. And so I'm going to press P again. And then that's going to bring up both viewers. So if I bring down media pool here, we scroll through this, we can see all three cameras throughout the entire timeline. And that's going to be much easier to see where we can cut and where we can't. And you can see as soon as I set this back to source, then for some reason, it gets rid of the program window. And if I click down here, it goes to the program window. If I press P again, it goes back to this. I have to manually set it to multi cam and then press P again to open up the source viewer and then it pulls up. I think this is a bug. We'll see if it gets addressed in a future update. I'm not sure. But now there's a couple other things that we want to take note of before we actually start cutting. The first thing we want to do is we actually just want to unlink the video and audio, because when we make cuts to the video, we don't want cuts to happen to the audio. So what we're going to do is we're going to press control L and that's going to unlink both of those. And now we're going to look at the next set of keyboard shortcuts that we're going to utilize for cutting. So we're going to go to divage resolve keyboard customization. Once again, I'm going to search for cut to and we'll see multicam edit. So I'll drag this down. We'll see cut to angle one, two, three, et cetera, all the way down to nine. I have these set to each of my numbers respectively. And then we can select switch to not sitch. It's not quite a cinch. So I'm going to bring down multicam switch and we can see I have these set to my numpad numbers respectively before we start cutting once again. And this is not the case with this particular timeline, but it will be with the next one. So I'll go into a little bit more detail in a second, but let's assume that each of us three had our own microphones and we needed those to be different tracks. The easy way to do that here would be we click on our audio here, hold alt and drag it down and then click and drag again. And that'll duplicate the audio sources. And now we can actually use our first instance of that switch to shortcut. I can click on the second one and I can press two on the numpad and that'll switch it to the second layer. I can switch this one to the third layer and then we can have different mics on different layers that aren't affected by the video. And we can always go back into our multicam sequence. If we right click it and select open a timeline, we can specify which mics are going to which audio layer. And then just to see those timelines much easier. I have this set so that you can highlight this so we can see all of our timelines here, just so if we do go back into our multicam sequence, I can easily toggle back and forth between them. Just keep in mind, if you adjust any timing inside of the multicam sequence, that timing will be reflected in the multicam clip on your regular timeline. So try not to adjust anything timing wise here. Also to note, don't do audio effects on the multicam clip, but you can do color effects on the multicam clip. So if you want to adjust your color correction and color grading on the source clip, so you don't have to do for every single instance of every single cut you make, you can do that inside of the multicam clip, but anything in terms of audio do that on the normal timeline. So we're going to go back to our rough cut and now we're going to use those instances of cuts and remember making sure that we have this linked selection deselected. None of these clips are linked so that we have individual adjustments applied. I'm going to bring up that source viewer again, press P select multicam and it press P again. Now we have our multicam setup again. If you run a dual monitor setup, that will not be a factor. The source and program viewers are on by default. That was rough. All right. So as we're going through this edit, if we go to any point, we can press our regular number buttons to actually make a cut. So if I wanted to cut to camera two here, I just press two. And you can see that makes a cut in the timeline. If I go to this point and I want to cut to camera three, I just press three and I can just keep doing that through the rest of the timeline. If I wanted to double the speed and just go through it quickly, I could double press L and it'll speed up the process. And what's great is I can actually do live edits as well. So I can go back to one here. I can go to two. I can go to three. And then we have live editing right there. So you can skim through and go really fast to edit the entire timeline very efficiently. Now, let's say you made a mistake and you want to go back and you want to change this without having to right click it, having to make a new cut. You just want to go to this selection and change which camera angle it was. The easiest way to do that is to use the switch to shortcut. And the easiest way to apply it is if we turn on a camera angle, we can turn on our selection follows play head shortcut, which for me is shift G. You can actually find it up here, timeline selection follows play head and you can see what it's set to for you. So I can set this. Now, anytime the play head goes over top of another clip, that selection will be on top of that clip. So now I can just move cameras around. So let's say I wanted this to be three. I'm going to press my num pad. And boom, let's say I want this to be two. Boom. Switch that. Let's say I wanted this to be one. Boom. Switch that. And I don't make any additional cuts, but if I press the cut versions of the keyboard shortcut, so I just do my regular numbers here, those still make cuts. So this is an easy way to cut through a podcast very quickly. And we're going to apply more principles to this, especially if you wanted to do some more effects onto it, but I'm going to go to a different part of the project now where we do remote podcast recording to show you how the editing can sometimes differ a little bit and the different techniques you can apply for that. I'm going to go to my media pool and I'm going to go to my most recent episode. And as you can see, there's no unique audio file. There's just a video with audio embedded because each of us recorded our own scenes and OBS. So I'm just going to go ahead and right click each of these and select create new timeline using selected clips. I'll call this multi-cam remote. And we can see we have three full clips here that don't really have any way of syncing by themselves. And just a disclaimer, the way I was able to sync this in recording is I captured both of their mics into a separate track than my regular mics. So I could go in and find the sync later with this chain link deselected. I noticed that there was an accidental duplicate track here recorded that we don't need so I can just delete this. But I know that my mic is on this first track. Their mics are on the second track. So what I want to do with this is actually move this track down to and I can click on it and press Alt down. I'm going to highlight these, bring this up. I'm going to highlight both of these and bring this up as well. And then I'm going to chain link them back again. So if I highlight them, it highlights all the video and audio and I can just bring these over accordingly. So now I'm just going to manually sync this. And again, I know that the bottom layer is the one I'm syncing to with the other mics. The second layer is my personal mic. So I want to ignore that one. So the first one I want to do is sync this the first track with this layer. So I'm just going to click and drag and you can see it gets pretty easy to find, which is where so that synced for the most part. And it doesn't have to be perfect because then again, there was discord delay when recording this. So the best way to sync is to err on the side of being slightly early rather than slightly late with the sync. So for the second one, we just need to find a place where this and this look like they're aligned. There's a lot of spots that look very similar. So that's going to be pretty easy to find. So I'm just going to go ahead and down here, drag it accordingly. And we've got a basic sync there that can play it back. And that's basically nearly perfectly synced. So now that I have those synced, I can delete the one that was just for reference, which was this one. And then I can just right click and delete empty tracks so it doesn't recognize that one as a angle. There are multiple ways to do that kind of sync, but I find recording a separate track with their mics in it, especially if you're the one doing the editing, helps the most with being able to manually sync it, especially if it's not really doable to do an automatic sync. And once again, we're going to right click this, convert the timeline to a multicam clip, and we will create a new timeline with that multicam clip. We'll call this rough typing remote. This is an example of how we would want to have multiple audio tracks. So we can once again, highlight both of these, make sure they're not linked to each other by pressing control L. And then we'll go ahead and do our move down by holding alt. I'm going to switch this to two and three. And sometimes the audio waveforms, because it's a long file, will take a bit to load, but they will show up eventually. So it's interesting in this case is at any given time, each camera only has one person on it. So let's say we wanted to have multiple of them on screen at the same time. There are a number of ways to do this. The easiest way that I'm going to show you is using the video collage tool. However, I've even built plugins that allow me to have animations happen that go from a full screen view to a dual screen view. So I can show you that plugin that I've made as well and kind of some tips and ideas of how to make that yourself. But if you just want to simplicity layout, this video collage solution is for you. So let's say in this instance, I wanted to go to cameras two and three and I wanted to see both. Well, the easy way to do that is find the point where you want to transition to both to start. So I'll have it roughly here. It doesn't have to be perfect. I'm just going to make a cut here, find the place where I want that transition to end, where I want it to fade completely back, which would be probably around here. So I'll make another cut. And then what I'm going to do is I'm going to alt drag this on top and now I'm going to select two to have both clips, one on top of each other. And now there's a couple of ways to do this. I'm going to show you how to do it just in the edit page. If you're fusion savvy enough, you could do this in fusion as well. But doing this on the edit page does actually help with being able to extend it or retract it much easier, especially because you don't have to rely on in and out points. But what I'm going to do is I'm going to just highlight both of these, put them above the first layer. I'm going to add a solid color underneath and I'm just going to keep this black for now. This can be an animated background if you want. This can be whatever. I'm just going to use a solid color as an example. But what we can do is we can go to our open effects and we'll scroll down to video collage, which will be under resolve effects transform. So I'll drag this video collage on top here. I'm going to get rid of this viewer here. And the first thing we need to do is we need to go to effects and we need to select how many columns we want. In this case, we only have two cameras, so we're going to have two columns and row will be one. And then we want to make sure workflow is create tile. You can already kind of see where this is going and we can scroll down right here and kind of customize how we want this to look. But we can also preview the layout so we can preview both at the same time. So that way, once we have the layout customized and how we want it, we can then copy it to the rest. So let's go ahead and find out where we want our margin. That's probably about good. I like the way that looks personally. And so now that I have the spacing worked out, what I can do is I can just make sure this is selected. I can hit copy by doing control C and then I'll go to this layer right here and press alt V. And then I can just copy all of the attributes. This will copy the effect from one clip to another. So I hit apply and then I can just go to the effects. And the only thing I need to change in here is if I go to tiles, I can select tile two. And if I toggle off preview layout on both, now we have our selection. Now, if we need to recenter anything because I might be a little too far to the left over here, we can just go to tiles. And if we go to resize content, we can adjust our pan so that we can adjust where that center point should be. So right about here is a little bit better. And then we can link all three of these clips right here, including the solid color. I'm going to press control L for this. And in this case, we actually are going to turn this link selection on. And if I select here, right click and add a 12 frame cross dissolve. Do the same thing here at the end. Now we have a way for it to fade from one camera to two cameras at the same time and have us both say things at the same time and make it look somewhat realistically cool. And then it goes back to here once it fades out. But the great thing is, is if I need to change where the cut is because we have them linked to now, I can just click and drag and it stays on and doesn't affect the sink in any sort of way. And we can do the same thing, let's say, if we wanted to have three people on camera once. This is kind of the same principle, except we just add another column to that collage. So let's make a cut here and let's find out where we want to end. It's probably going to be realistically like right around here. I'm going to drag it twice this time. And I'm going to select this one to two. I'm going to have this one at one. And then that way we can just kind of think of this as left to right. And that'll make it a little bit easier for the video collage to order the tiles accordingly. It doesn't super matter in this instance, but it does just for mental sake. So we can start on the video collage on this layer. And once again, we can just highlight all of these, move them a layer up. We can make sure we have that solid color generator or whatever video background you want to have underneath it. So we can go to this and let's preview our layout. And so obviously we're going to want to have three columns here and only one row. We're going to change workflow to create tile. And then we just adjust our margins accordingly like we did last time. And then we're going to copy this control C and then we'll just paste on both of these two, not the solid color by pressing Alt V. And once we hit apply, now all three have it. And so on this one, we just unselect preview layout, deselect preview layout and deselect preview layout here. And then on this one, once we go to tiles on the top, we want this one to be tile three because we want it on the right. We want this one to be tile two because it's in the middle. And this one's already selected to tile one. And then of course we can go back to resize content and recenter with the pan to make sure everybody is centered accordingly. And once that's done, we make sure we highlight all four layers, we link them together and we can apply that transition once again. And any sort of adjustment we want to make happens to all of them so that it's easy to adjust exactly where that cut needs to happen. And the transition is the same across the board. Now I will say I have built my own custom plugin for this. So if you are curious about how to build something like this, I could probably do another video on it, but I have another plugin that goes from a full screen to a dual screen layout without the need for a cross dissolve transition. And kind of how that applies here is if I make a cut here and then make a cut here and then bring these up. Let's say I wanted myself to be on this layer here. I can highlight both of these and then normally you could do and right click and add new fusion clip. I just have that set to alt E. So if I highlight these and press alt E, it just makes a fusion clip. All this really is is if I go to my effects, I have a double split plugin that I have made. And basically what this does is if I go to my effects, I have custom parameters set here to where if I wanted it to start on whoever was on the top, I just select the camera two. If I wanted to start on whoever's on the bottom, I select camera one. But what's great about this is let's say it starts on him and then it goes out to somebody else. What I can do with this is I can actually set a keyframe on this parameter right here and say, I want to go from this, go to the next frame forward and bring him select down. And then it fades out to me. You can start on somebody else and you can see if I switch these camps elects here, you can see how it changes who's on top. And we also have our camera centers here so we can change the center point of the given camera that we're adjusting. And we also have our corner radius tools here. And I can show you how I built this infusion. This was the node tree I had built out to be able to do this. If you have more questions on it, please feel free to ask. And I also had a similar instance where if I did this with a three cam option. So let's say I did this one, two, and then I made this a fusion clip. I have a triple split plugin that I made where it puts them all three on and I can specify which three, one of the three cameras I want to have starting and ending. Those little plugins I just wanted to show you real quick because that shows you what's possible with fusion, but it's obviously not necessary. But you could totally build something like that out by yourself in fusion if you wanted to. And just to show kind of as an example of stuff that you could put under here. If I put a different generator under here, like a four color gradient, you can see that it goes behind the video collage and you can put pretty much whatever you want to behind this. And if we wanted to do any coloring on this, we could just go into our multicam sequence, do any adjustments we want to make on this should probably turn off proxies when we're doing coloring. Pro tip. But when we apply any sort of color grade onto anything, it is applied throughout the entirety of the timeline. And we don't have to worry about applying it to every single instance of every cut. But once again, do all of your audio work within this timeline, because if you do anything in Fairlight on the multicam clip, all those effects will not save. Now, let's just say you did want to do your own fusion transition for something like this. When you split your clips right here, you can just highlight when you make it a fusion clip, you can go into fusion and then you have both of your media ins right here and you can just add transforms to them both. You can add rectangle masks to them both. And as we go into inspector, we just bring our height all the way up. We can add some quarter radius to it and we can use our transform to move things accordingly. I'm just going to do a very rough job, but you kind of see where that goes. But you can also key frame these parameters so that it makes it a lot easier. So you can do that on an individual basis as well. If you just wanted to blow through it really quickly and you don't have the presets to do it and you wanted to do something very specific, but that's one way you can easily bring stuff into fusion and make things happen that way. Again, I'm not going to go into the depths of fusion with this video, but maybe in another video we can definitely go over that. But hopefully that made your process somewhat easier and gave you some ideas of how you can streamline your podcast editing and make it a little bit more seamless and somewhat refine your process so that you can blow through a podcast that it's much easier, especially with multicam editing. Once again, I stream every Monday and Wednesday morning on the Stream 6 official channel right here. Where do I point? I have to like look at my camera over here to see where I need to point for this stupid lower third. I also have to wait until it actually goes back down to tell you about my personal channel right here that you can also follow and watch when I'm live, whenever that happens. And if you guys just really like seeing some very random tips on Resolve in general, you can see this video that I did a while ago on my top 20 tips that I did on a version of Resolve that was several versions before this one. I think most of them still apply, but definitely click it because it's still sitting right there and I'm signing off, you know, because I got to I got to do stuff. Bye. Are you still there?
