multicam setup

[Craig Alan]

I used the same three clips to make a new multi cam clip.

The angles now show up in their name.

I can now switch between angles in viewer but not cut –

no the blade tool in viewer.

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[James Ewart]

You have dropped the multi cam clip into a project (timeline ) yes?

[Craig Alan]

Yup. It’s in the timeline. I got it to work by collapsing it in the timeline by double clicking the project icon in the browser. If I double click it in the timeline to see all three clips then I can’t cut it in the viewer. Assuming nothing is wrong with my system, I’ll review the tutorials on multi cam and it will no doubt make more sense to me now that I got it to work. Though I don’t remember them mentioning that it must be collapsed to cut.

Do you know a way to collapse the clips in the timeline?

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[James Ewart]

Double clicking the clip in the timeline is taking you into the ‘Angle Editor’ and you cannot cut your project there nor is it intended for you to try and do so.

The Angle Editor is there for making minor sync adjustments or applying effects or colour corrections to an entire clip. Not for cutting your project.

So yes the project must be “collapsed” as you put it for you to cut your project.

To get back double click the project again in the browser or click left arrow back to get back to it via timeline history. (or hit command and left bracket [ )

[Craig Alan]

Starting to make sense now. The angle editor is like opening a multicam clip in its own timeline. Glad my system is healthy. One tutorial, upon review, showed this behavior but did not explain it. I’ll review the other one today. Regardless, I did get it to work for the project I was working on and your explanation fills in a couple of major gaps. You need to double click in the browser or use the timeline history arrows because it’s really two different timelines. Got it. Thanks!

Follow up questions. If I had a multicam clip within a larger timeline (project) would double clicking it open up the angle editor with just that clip to fine tune it and then I could toggle back to the original project using the options you mention?

Also I assume that changes in the angle editor such as color correction would act as a parent and change the clip in the project’s timeline? If so does the reverse apply? If I color correct in the project’s timeline would those changes show in the angle editor? In other words, just like a compound clip.

If we used a camera that was synced using the internal mike but paused at some point while the others continued to record, would audio syncing automatically create a gap during the pause or does that section on need to be re-synced?

Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.

[James Ewart]

You seem to have it all worked out now.

“Also I assume that changes in the angle editor such as color correction would act as a parent and change the clip in the project’s timeline? If so does the reverse apply? If I color correct in the project’s timeline would those changes show in the angle editor? In other words, just like a compound clip.”

Funny I’ve been doing some tests on this and yes you are right I think if you apply filters/effects in the multi cam timeline it does not affect the original and so it does seem to behave like a compound clip.

Yup It seems to understand the gaps automatically for stops and starts but if it doesn’t you can use markers to help it and these do not have to be frame accurate.