How to adjust camera angles in a multicam clip in DaVinci Resolve

Multicam Gone Wrong: Re-syncing Clips in DaVinci Resolve 14

March 15, 2018

DaVinci Resolve's automatic syncing of multiple cameras for its multicam editing workflow often fails. Learn how to reliably re-sync cameras after creating a multicam clip.


Resolve 14: How to adjust sync between multicam camera angles

Have you ever tried to create a multicam clip using Resolve’s automated sound-matching function? Resolve compares the audio waveforms of each clip and aligns the waveforms together. When it works, it’s magic. When it doesn’t, it can be off by 2 frames… or 2 minutes! A bad multicam clip can be frustrating to solve. In this Insight learn 4 different methods for fixing out-of-sync multicams.

Learn 4 methods to fix multicam sync problems

The most reliable method for syncing multiple cameras is to ‘jam-sync’ a single timecode source to every camera. If you’re lucky enough to have jam-synced timecode then you’re way ahead of the game. If you’re like the rest of us then this Insight will show you a selection of methods to solve sync problems between cameras. From using Markers to syncing by hand, you’ll learn how to ‘step in’ to a Multicam and make tweaks (small and big) so you can start editing.

This multicam project is featured in our upcoming Resolve 14 Certification Add-On training

The reason I’m posting this Insight is that I’m recording the paid add-on training for our upcoming (and free) Resolve 14 Quickstart series. The add-on series allows you to take (and pass, if you actually do the work) Blackmagic’s official Introduction to Resolve 14 Assessment Test & Certification. One of the topics the Assessment may test you on is the fundamentals on multicam. I’ve just finished up prepping this multicam project for delivery as part of our paid add-on training… and every problem I’ve mentioned in this Insight, it occurs in this project. So, this week multicam is on my mind – and now here in the Insights Color Correction Library. Which has me wondering about the direction of both DaVinci Resolve and Mixing Light.

Would you like to see more of these types of Insights?

As Resolve becomes three different software packages (editing, color grading, and audio mixing), do you want Mixing Light to branch out into these other topics, here in the Insights Library? Would you like to learn about the theory of using EQ to enhance dialog? Or the fundamentals of bussing and routing for sound design? Or understanding dynamic trimming on the Edit Page?

If the answer is yes then do you want us to simply limit our Insights to the tasks of a typical finishing artist? Or would you like to learn about theory and workflow from the aspect of a dedicated craftsman, perhaps to help you pick up editing or mixing as a secondary skill you can sell?

Leave a comment (or use the Contact Us page)

If you’d like to see the Insights Color Library continue as we’ve always done. Let us know. If you’d like to see us expand its focus, then let us know. Use the comments below or use the Contact Us page and leave an email!

Watch the end of the video below to hear me ask you this question and provide some additional context around it.

Enjoy this video Insight!

-pi

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Comments

12 thoughts on “Multicam Gone Wrong: Re-syncing Clips in DaVinci Resolve 14”

  1. I understand if you publish insights about editing since we usually have to deal with conform problems. But I don’t see the point in publishing insights about audio mixing. Mixing Light should remain a training platform for colorists / finishers. I also think we should see more insights about color grading in other software like Mistika or Baselight (there are student versions for both). Mixing Light is too Davinci Resolve centric and I understand why (it’s the software you always use) but I would like to see a balance and learn different approaches to color grading in all those applications.

      1. pat! the more in-depth edit/audio the better. depending on our projects, we are trying to keep the edit in resolve. i would always rather avoid conforming if possible!

  2. I’d love to see more tutorials like this! Since BMD’s positioned Resolve as a true studio software suite, we’ve abandoned both Premiere and Final Cut. It’s been challenging to adapt our workflow, and I’d love to see how other people are dealing with missing features. Round-tripping to/from Fusion is particularly thorny at this stage in the game, but the absence of alpha channels in compound or multicam clips make it the only (?) option in some cases.

    Also, Patrick, PLEASE share some insight on how you get such smooth multicam playback with 12 streams! I’m on a 12-core dual D700 trash can and can’t get 3 streams of 4K to play back smoothly.

    Thanks for all the great work!

    1. Thanks for sharing your thoughts!

      RE: Multicam – Well, those were h264 transcodes in 1080p but I can also get the ProResHQ and REDs to play back pretty smoothly with 10 cameras. In your case, with 4K originals, you definitely need to use Resolve’s Proxy workflow. You can create low-bandwidth Proxies for editing. Then with a flick of a menu selection, switch back to the high-res footage whenever you want. Or pre-process the proxies, edit with them, then reconform from a bin of the camera originals. As long as the Proxies have the same names as the originals, it should work well.

    2. Alan,

      You can expect an Insight on your question in the next day or so! I was recording the Multicam section for the training yesterday and decided to record an additional one for the Insights Library based around your question.

  3. These bits and pieces save me a lot of time. Very nice. Resolve aims to become a hero system. One issue that looks a bit cumbersome and tricky is to use track based masks and FX, in other words masks that are not married to a particular clip. How to use OpenFX alpha channels on the timeline.

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