Is there some kind of unknown issue with FCPX when it comes to Multicam editing? My issue is after selecting 3 clips (together) and go to make Multicam clip ... It does not work. I will see the Multicam clip inside the bin but it does not show up as 3 clips into one for me to do the Multicam editing. Also when I select 4 angles it will not show more than 2 angles. This is a new MacBook Pro maxed out. I have not done Multicam editing in a while but currently doing one now just wanted to check if there was some changes I am unaware of. Thanks.
If you double-click the Mutlicam when in the Browser or in the Timeline, it will open into the Angle Editor. There you'll have access to all the original media to adjust as needed. Shift-Z is usually necessary when opening a multicam clip into the Angle Editor.
When you Show Angles, there's a Settings menu, you can tell it how many angles to show at once. Seems you know about this already. But I bet there are places in the multicam where only two cameras have media, and the other two don't. Double-click, verify in the Angle Editor.
Thank you for responding ... I just tried that again ... It did not work. What does it mean when you create the Multicam clip but when you double click on it there is only one clip from the selected clips. I tired to double click in both the timeline and bin. I steps for creating the Multicam clip is this: I select 3 different files (recorded at the same time) with the syncing using audio. Before it showed two in the Multicam segment now there is only one.
...I select 3 different files (recorded at the same time) with the syncing using audio.....
To make the FCPX sync work properly, the clips must be labeled with an angle name or camera name or recorder name in the Inspector before doing the sync. This isn't that difficult and the entire batch of clips shot by one camera can be named in a single step. In general create multicam clips, not sync clips -- even if you only have a single camera and external audio source. Overall procedure:
1. Before importing anything, put all clips from each camera in a separate uniquely-named named disk folder. E.g, Wide_DVX200, CloseUp_S1H, etc.
2. When importing make sure the FCPX preference>Import>Keywords from folders and Finder tags are set. This will automatically tag the imported clips with the camera name. This is especially important when using similar cameras where you can't tell the shots apart from the filenames.
3. Set Event Browser to List View to better see the clip data. Pick menu View>Browser>Toggle Filmstrip/List View or press OPT+CMD+2.
4. If you determine that time of day is incorrect for certain clips since the operator did not set the camera or recorder clock, the clips will not sort adjacent to each other chronologically. This can complicate picking all clips from a given take to sync in a multicam. This can be fixed and adjusted for all clips from that camera. Select the batch of problem clips and Modify>Adjust Content Created Date and Time.
5. After clip time of day is correct, in the Event Browser, select all clips from a given audio recorder or camera. If the Inspector is not on, use CMD+4 to show it.
6. In the Inspector, click the "i" button to show information about the clip. This will reveal a "Camera Name" edit box at the bottom.
7. Enter a Camera Name for that group of clips and press return. This batch labels all selected clips with that camera name.
8. Repeat for each camera AND audio recorder. Note all clips from a given device can be labeled in one step, so this is quick.
9. Select all clips in the Event Browser you wish to sync
11. For either multicam or sync clips make sure the checkbox "use audio for synchronization" is checked.
This will create a new multicam or sync clip which is synchronized using audio. You can double-click the multicam clip and open it in the Angle Editor to verify or adjust the sync. SHIFT+Z to fit to screen. If the sync is not correct you can drag the problem clip left/right or use the comma/period keys for single frame adjustment or left and right angle bracket for 10-frame adjustments.
If you later want to add another camera to an existing multicam, click on down arrow next to the angle name at left of the timeline when in the Angle Editor, and select "Add Angle", then drag the new clip from the Event Browser to the new lane on the timeline.
If a clip is synced incorrectly you can selectively re-sync that one clip within the multicam. In the Angle Editor, click down arrow next to the angle name for the master audio you wish to sync to, and select "Set Monitoring Angle". Then select the clip which is synced wrong, and on that lane's name select the down arrow and pick "Sync Selection to Monitoring Angle". Only that one clip will be re-synced.
Likewise if you forget to add a clip to the multicam during the initial sync, it's not necessary to rebuild the multicam. Just drag/drop the additional clip to the proper angle in the Angle Editor, then use the above procedure to sync that one clip within the multicam.
After the multicam is created, do not simply dump that on a timeline. Use FCPX favorites, rejects and keywords on the MC clip to tag it curate the content. Have the Angle Viewer enabled when doing this -- SHIFT+CMD+7. Ideally mark all the individual "parent" clips comprising the multicam as "rejected" and run the browser filter with "hide rejected". This will help prevent accidentally adding a single-cam clip to the timeline which would later require manual frame matching with the multicam clip.
wow and thank you very much ... I always did the syncing after I imported my content never before importing. It worked like that with me before so I don't know what would have been different. now. I use all Panasonic cameras, GH5, GH4 & GH3. I will try your steps on a different project since already started manually editing it. Thanks again I'll let you know how it turns out.
I do multicams a lot, and I have a workflow that cuts my time significantly.
Since I import from several camera cards at once (I use Lumix cams and a card reader that allows me to mount several cards at once), I simply make Keyword Collections with the name of each camera. Select a collection, then import, everything you just imported get assigned that keyword automatically. Saves time and hassle having to name and sort folders.
Then I can select all the clips from a specific camera at once easily and quickly, go to the Inspector, and assign an Angle number and a Camera name to them all at once. Quick, easy. TOD doesn't matter once that metadata is set. I'd done many multicams with messed up TOD, and since it uses Angle and Name along with audio sync, I get great results every time.
... I always did the syncing after I imported my content never before importing. It worked like that with me before so I don't know what would have been different. now... I will try your steps on a different project since already started manually editing it. Thanks again I'll let you know how it turns out.
I didn't mean to imply you sync before importing to FCPX. Rather you sync *after* importing but *before* you add anything to the timeline. The same applies to curating the material. You mark favorites, rejects and keywords *before* putting anything on a timeline. For multicam material you only add curated multicam ranges to the timeline, not the constituent or parent clips. To avoid accidentally adding a parent clip it may be useful to reject those after multicam sync and run the event browser in "hide rejected".
As FCPX.guru said, tagging all clips from a given camera is important. There are various ways to do this. As I described above, this is easy if you offload each camera to a uniquely-named folder, then import with the option of adding keywords from folder names and Finder tags.
As FCPX.guru said, you can also simply create keyword collections named after each camera or camera+operator, etc, click on each one then import. Each batch of clips will be assigned that keyword, making it very easy to identify what clips came from what camera. This is especially important if shooting from several similar cameras. E.g, most of the Panasonic and Sony mirrorless cameras use similar filenames, same internal codec, and the video header contains no identifying data to identify material from, say, a Sony A6300 from an A7R3.
Re camera/recorder time of day, if you have many clips from many cameras shot over several days, it's often helpful to ensure they sort adjacently by time of day. My team has shot 1,000 multicam interviews over the past three years and 50 multicam interviews in one week, so if a camera or recorder has the incorrect TOD it can make picking the right clips for multicam sync difficult -- even IF they are tagged with the correct camera name. The importance of this was discussed on MacBreak Studio #223 from 02:00 to 04:00:
For later archival search and retrieval, it's useful if the clip date and time of day are correct at a file level. FCPX gives the option for updating TOD of the disk file vs just TOD within FCPX, however the option to update the disk file may not work correctly due to disk permissions issues.