[Trevor Asquerthian]

OK I’m an idiot – this is a PPro question, not Resolve, in which case you can easily do it (following the same principles) but can also add a timecode effect to each angle in the multicam sequence – if you wanted to keep track of timecode offsets.

[Trevor Asquerthian]

Yes, it works:

Import media to media pool & ‘create multicam clip’

Select that multicam clip, right click and ‘open in timeline’

Select each layer and use transform to reposition each angle to get your multiviewer – e.g. Top Left for C1, Top Right for C2 etc
(You might want to modify the timecode of this timeline to match your main camera – I couldn’t see a way of doing it, other than copy pasting the multicam timeline clips into a new timeline with the correct starting timecode)

Go to the Color page and set your data burn-in options for the multiviewer – likely to be source timecode – and export
(I couldn’t see a way of getting BITC on each camera without exporting & reimporting)

Bonus: If you export at a decent resolution then you can import the multiviewer to Resolve, add it to the multicam timeline as an additional camera, and do your rough cut with that… much less demanding on resources than trying to play multiple angles simultaneously.

[Trevor Asquerthian]

Shift&4 presumably is ‘switch to timeline panel’ shortcut.

If there is more than one timeline in the panel and the panel was already selected then the command switches to the next timeline.

Workaround is to insert a benign shortcut, such as switched project window, that ensures focus is away from timeline before shift&4.

The shift&4 behaviour is quite annoying – request a change at adobe.com/go/wish

[Trevor Asquerthian]

Don’t know resolve for Multi-Cam, but I *think* you can edit the multi-cam source sequence in a similar way to PPro.

In PPro I resize the layers in the source sequence to make a multivewer & add TC (either for ‘master audio’ source or all cans)

I export that for logging/transcribing. It’s also less resources as a multiviewer.

[Trevor Asquerthian]

Thanks, those were the toggles I was hoping to avoid.

Asked the same Q on adobe forums & got handy hint that CMD key (and presumably Control on PC) overrides the selection tool with pen tool, whilst it is held down.

Posting here in case it helps anyone else.

[Trevor Asquerthian]

Your sequence needs to be multichannel (8 tracks for 2.0 and 5.1)

[Trevor Asquerthian]

Modify is as close as I’ve managed to get at the moment without macros (e.g. AHK)

Even with macros it’s going to be tricky as there are warning pop-ups the first time you go to modify a clip then modify defaults to last parameter used

Would be great to have presets that were keyboard mappable (e.g. 2xstereo 2×5.1 SMPTE)

You could try filing a feature request at community.avid.com/forums but don’t hold your breath

[Trevor Asquerthian]

[Jeremy Garchow] “My search box is active as soon as the kb panel opens.”

Mine opens up with the command set dropdown selected (rMBP OSX 10.11.6 FC 10.3 – Build 295518)

[Jeremy Garchow] “I find it more helpful to map…”

Yes, I have preferred shortcuts – mainly to match my normal hodge-podge of Avid / FCP7 / Premiere Pro / Sony 9100 / GVG muscle memory & preference to keeping my right hand free… I felt it was better to state the default command set.

Which has, by and large, had a good deal of thought put into it.

[Trevor Asquerthian]

[Noah Kadner] “They are fundamentally different in functionality.”

The whole thing is fundamentally different. I was attempting to verbalise my understanding. Happy to take crit, obvs.

[Trevor Asquerthian]

[Oliver Peters] ”
More correctly, it should be Avid Bin = FCPX Event”

You may be right there, although FC Events = AV Folders and FC Folders = AV Bins, kind of

FCPX Smart Collections = What we have been waiting for from Interplay for about 10 years