Multiclip Workflow

The following steps describe the basic multiclip workflow in Final Cut Pro:

  1. Stage 1: Shooting an Event with Multiple Cameras and Recording Appropriate Sync Information

    A multicamera shoot uses multiple cameras to record the same subject or event from different angles and distances. The recorded tapes are known as iso reels (short for isolated reels) because each camera angle is recorded separately.

    In professional multicamera shoots, each camcorder or VTR receives the same timecode from a master timecode generator, or you can jam sync the timecode generator of each camera at the beginning of the shoot. If you are using consumer DV camcorders, which cannot accept external timecode, you need to record a visual cue, such as a clapboard closing or a camera flash, on all cameras. You can use this to synchronize the clips together during post-production.

  2. Stage 2: Logging and Capturing Multicamera Footage

    Log and capture each tape as individual clips, or use Capture Now to capture the entire length of each tape.

    Important: Make sure to log an angle number for each clip you capture. Final Cut Pro uses a clip’s Angle property to determine how it is sorted within a multiclip.

    If you capture entire reels using Capture Now, you can break your footage into shorter subclips. For more information, see Creating Subclips.

  3. Stage 3: Creating Multiclips, Assigning a Clip from Each Camera to a Different Angle

    In the Browser, select the clips, subclips, or bins of clips that you want to group together into a multiclip. You can create multiclips using either the Make Multiclip or the Make Multiclip Sequence command.

    • Make Multiclip: Creates one multiclip at a time, synchronizing each angle by In point or Out point (such as the frame where the slate closes), or timecode.
    • Make Multiclip Sequence: Creates many multiclips at once and places them in a new sequence in chronological order. This command uses timecode to synchronize angles, and gives you options for synchronizing clips that were recorded with the same timecode, but have slightly different starting and ending timecode numbers.

    When creating a multiclip, you can choose one of several methods to synchronize the clips, such as by In point, Out point, or matching timecode. After a multiclip is created, you can rearrange, add, and delete angles in the Viewer.

    For more information, see Working with Multiclip Angles in the Viewer.

  4. Stage 4: Editing Multiclips into a Sequence

    Once you edit a multiclip into a sequence, you can turn on the Multiclip Playback option to watch all angles simultaneously in the Viewer while switching or cutting to different angles in real time in the Canvas. The Multiclip Playback option allows you to cut an entire show as if it were live, and then fine-tune your edits in the Timeline just as you would for any other program.

    You can cut and switch between video and audio at the same time or independently. For example, you can use the audio from angle 1 while switching the video between angles 1–4. For more information, see Editing with Multiclips in Real Time.

  5. Stage 5: Collapsing Multiclips to the Active Angle

    After you have finished editing, you can collapse multiclips in the Timeline to the currently active angle, at which point you can work with them as regular clips. This is useful when you transfer your project to a color correctionist, effects artist, or audio engineer who only needs to see the active angles you chose during editing. Collapsing a multiclip is not permanent. If you need to make multiclip changes later, you can expand the multiclip and all of the angles become available. For more information, see Collapsing and Expanding a Multiclip.

  6. Stage 6: Outputting to Tape or Exporting to a QuickTime Movie or a Project Interchange Format

    You can output multiclip sequences to tape or export to a project interchange format, such as an EDL, OMF, or XML file. For compatibility with other video editing systems, most output and export formats only include the active angle. The Final Cut Pro XML Interchange Format supports export of all multiclip angle information, while EDL and OMF files only include information about the currently active angle of each multiclip.