I've been waiting a long time for this tutorial. I knew the comparison viewer could be used in the timeline, but not in the angle viewer. How simple and effective! Thanks Steve for this and all the Ripple Training videos and courses.
Great work, Steve. Personally, I preferred a point between the slight, warm colour cast in the wide shot and the fully corrected version because it was a bit warmer, but like so many things, this last tweak is personal taste. I really like the workflow, though, and will use it myself. We do quite a lot of multi-cam work in the studio here. And it's much easier to do CC before the edit than after, I believe.
We hear so much about matching different camera sensors. But with three different camera brands, they looked very close even before corrections. Any thoughts on the subject?
Question (not directly related) I would like to add an extra camera take to my multicam clip. So I select ADD ANGLE. So far so good, BUT how do I sync it??? Either using TC or Audio. Would be grateful for your help!
Interesting but given the cameras involved I do wonder what your starting point was. For BMD was it BRAW (with transcode or ProRes Log, Sony Slog3 and Canon Canon Log? If that were the case was it simple Log to Rec709? Or did you shoot in 709 which would still involve another level of camera matching given the potential settings differences? It might be worth doing a Part 1 to this tutorial. I actually think your three cameras used may be a common scenario.
Here are the camera profiles I used: A7S3: S-Cinetone, C100: No Profile, BMD: BRAW, Raw adjustments in Resolve rendered to ProRes. All cameras balanced to white card.
Good work Steve as always. Have you ever tried Cinema Grade? I have been using it for a couple of years now and it really speeds up the process to do exactly the same thing, especially when you have a lot of clips to match.
Here are the camera profiles I used: A7S3: S-Cinetone, C100: No Profile, BMD: BRAW, Raw adjustments in Resolve rendered to ProRes. All cameras balanced to white card.
Ripple Training 1 hour ago Here are the camera profiles I used: A7S3: S-Cinetone, C100: No Profile, BMD: BRAW, Raw adjustments in Resolve rendered to ProRes. All cameras balanced to white card.
Well we have a full-blown tutorial on it: www.rippletraining.com/products/final-cut-pro/multicam-editing-in-final-cut-pro-x/ Note it says FCP 10.3 but the multicam functionality has not changed at all since then.
FCP(x) really still is dreadful for mulitcam colour correction. Sometimes its just easier to line up parts of the clips on the timeline outside the multicam, colour correct, then copy/paste corrections back into the MC