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

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.

Thanks Raoul, we appreciate your thoughtful response! I’ve tried getting the student edition of Mistika running but ran into some problems. After NAB I’ll take another shot at it.

pat! yes, please…more insights on the audio & edit pages would be great. thanks for asking…

Dave thanks for chiming in. My question then is: How far beyond the typical needs of a finisher / colorist (and their assistants) would you like to see? Or not much at all?

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!

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.

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!

Thank you, Patrick. I love your training, really! Keep this amazing work. By the way, if you have any problems downloading Mistika Student, try sending a message to Adrian, agonzalez@sgo.es They surely will have support in english!

In answer to your question. Yes, I’d like a bit more on edit & fairlight.

Thanks Greg. It’s really helpful for us to hear what our members think / want.

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.

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.

Hi Patric

Yes, please more of editing and fairlight, but keep it simple we are colorist trying to understand the strange buttons appearing in our color program.
And about syncing multi camera-tracks and sound, the time-code-sync option works 100% accurate…. in an eyewink.