LIKE x Infinity!!!!!!! This is not intuitive in Resolve(Compared to other NLEs) as I've been trying to figure the easiest way to do this for years! This WAS the biggest issue as to why I couldn't move my Multicam workflow from my current NLE to Resolve. I love your channel! Excellent work, Chris!
Thank you! Same here. We originally cut this show in FCP and I wanted to explore the same sort of workflow with Resolve and hit the same wall. This is my solution. Thanks for commenting.
when I added my multicam clip to the left viewer window only one of the video clips showed up in the viewer. The other video clip was blank black. Why would that happen and I could not figure out how to delete the clips that I had dragged into the viewer window.
This might be because the clips were different lengths... If a clip has started recording at an earlier time, the other clip(s) will appear once you reach a part of the multicam clip where all cameras were recording. You can delete angles in the multicam clip by opening it into the timeline. Just right-click the mutlicam clip in the Media Pool and choose "Open in Timeline". HTH!
Can you change from Mono to Stereo in the audio track of a multicam clip or can you only change from Mono to stereo in the original audio clip before you combine clips into a multicam clip?
can you please make a video on adaptive tracks and how to control each chanel inside it seperitly, and how to ungroup it then regroup it, also how to convert 2 monos to stereo and how covert stereo to 2 mono tracks, in the timeline directly not in the clip attripute, I need this very badly please
Great tutorial! Two questions: why do you have to flatten the mulitcam clips, what happens if you don't? And what happens if you don't deselect the current linked group, what difference does it make?
Hi... great questions! Flattening a multicam clip allows you to grade the footage more effectively, but also gives you back the source audio clip, with all its channels. If you don't flatten, then you won't be able to work with those original audio channels, just the two adaptive tracks of the multicam clip. No need to unlink the linked group but, depending on the number of audio channels, Resolve might configure them as 2.1 or 5.1 channels instead of mono. Unlinking the group means each track is treated as a mono track... Bit involved, but I hope this helps! Cheers.
@@Chris.Roberts This was my question. Why tear apart 'flatten' a MC and ruin all the benefits? I'm also coming from FCPX, and in there you can always expand channels, and change fades, or disable specific tracks within specific cut points, to do your mix of multiple speaker audio, then collapse channels and keep it clean. So there isn't an equivalent of that in resolve? Also for grading, it seems beneficial to grade a specific angle, and it populates the grade for that angle across all instances in the timeline (I'm shooting consistent studio environment footage so the lighting/grade doesn't change). So in DaVinci, 'adaptive' is some sort of 'auto-switch' detection and it chooses the best channel and puts that into the mix? what's adaptive about it?
Hi... Final Cut Pro is much more flexible when it comes to audio for multicam editing. In fact, this video was born from the fact that I wanted to recreate the FCP multicam workflow I've used on a number of shows. In Resolve though we are constrained by the audio tracks. A Resolve multicam clip isn't as flexible as an FCP multicam clip... In FCP you can expose different channels from different clips within the multicam clip, but not in Resolve. This makes adding the fades and level changes you mention difficult as you're limited to not only the single audio track you're exposing from the multicam clip, but also the multicam clip's audio track itself... It's kinda like double-nesting!!! So, flattening exposes your original audio channels in your edited timeline. Similar for grading... In FCP the colour corrector is applied to the clip... In Resolve the grade is applied to the *multicam* clip, so switching the angle retains the grade. Although you can grade entire angles in Resolve by opening the multicam clip in its own timeline and switching to the Color page as you mention (and I have done myself). Throw Fusion into the mix and you have an added level of potential confusion... Plus, Resolve has many more options for grading than FCP has, such as grouping shots, remote grades, etc... Ultimately, you don't *have* to flatten a multicam clip if you don't need to. In fact FCP doesn't allow the you to flatten multicam clips at all. But I usually recommend it as part of a Resolve multicam workflow for these reasons. Hope this helps! BTW - adaptive tracks are simply tracks that can contain multiple audio channels without specific configurations like 5.1, 7.1... There's nothing like "auto switching" the audio... It's not *that* clever 😉
@@Chris.Roberts This is amazingly helpful to know the realities of multicam in resolve that I'm stepping into. For pairing a single clip with a single audio file is one thing, but I have a project with 4 camera angles and external audio with 5 channels for each speaker, times 80+ hour long training sessions to cut. Pretty daunting so trying to get it right. I think I'll stick with FCPX because time is money on volume gigs, and multicam is way faster to get a pre-mix in FCPX. But if you could, I'd love to hear you further address the quick mention at the end of your video about not flattening, and mixing that way. It seems that's a likely solution to still being able to apply a grade to each clip angle, and still retain audio channels from the audio file.
Of course! There’s always more than one way to skin any particular feline 😉 It just depends how easy it would be to sync the sound outside the multicam clip and how many times you’d need to do it. I often find syncing the audio within the multicam the easier option. HTH.
Explain exactly what cameras& audio recorders were used and what cameras hav the aility to record multi channel audio. I used to use a Canon XL-1 tha had 4 audio channels (2 Stereo pairs)
Yup way too complicated for me. Just want to combine 2 cameras with their respective remote mics and a second 4 track audio from a Zoom H4n Pro recorder ambiant on the top 2 tracks and remote mic 1 & 2 on lower tracks 3 & 4 respectively. Nothing too complicated because almost nothing can be cut out as the whole video really needs to stay intact from Taxi out to taxi back in after landing the R/C Model Jetsafter their formation aerobatic flight.
Why do you all give examples with two video files and an audio track? An example with a camera that has 50 files and the second camera 100 files plus audio recorder. For example, I shoot at weddings, I shoot with two cameras and I have sound from an audio recorder. How to proceed?
It’s about scalability I guess. I’m trying to show you a workflow rather than a specific task. Hopefully understanding with a simple example means it can be scaled up to larger projects like yours. Of course, specific jobs require a specific workflow and it would depend on how you shoot and record your footage and how you want to edit and present the final piece. Plus how long you have to make it. Still, hope it helps some.
