I just realized you can auto-align clips in the Compound Clip so you don't have to manually align them!! Once you add the camera original video on top of the 1080p clip, select both, right-click and choose *"Auto Align Clips > Based on Waveform"* . Sheesh.
@@photojoseph But most importantly, thank you for your genius! While it is easy for us to point out what you could have done, we sometimes forget to give thanks for the time, effort, and genius it takes in putting these videos together and sharing with us to help us put out the best products.
Amazing. Just amazing. This video has not only saved me thousands in investing new cameras and lenses (and saved me from having to re-wire the entire studio as a consequence) but also made the Atem mini workflow attractive again. Thank you for tirelessly discovering hidden features and presenting them in an easy-to-follow, clear way.
Can you believe this is actually possible? It's been right under our noses for YEARS and it took Alex to figure out the first half… which led to the second half. WOW.
Conveniently I saw Alex’s video this morning which helped me follow through with an ISO file we just recorded. Note I can appear really smart with my colleagues even though you two did all the heavy lifting. Thank you!!
Been dying for a 4K solution forever on this without buying BMCC, and you've totally made my night. Well worth the little bit of work. Can't wait to try this.
I KNEW there had to be a way to do this!! I can't believe Blackmagic makes it so difficult to do EXACTLY what you (and I) have always wanted to do with the ISO Models and multicam edits. Thank you Joseph! This is awesome!
If you're using blackmagic cameras, replacing clips is not so difficult, you can just replace ISO files with original raw files from cameras as they are already perfectly synced, but this is a real game changer for everyone not using bm cameras with atem. And of course, the fact that you can have multicam sequence instead of the original atem timeline is priceless. Thank you guys for doing this! 🎉❤
Actually, if you have BMD cameras, all you have to do is put the RAW files in the folder and Resolve finds them, and treats the RAW as originals and the 1080p as proxies. But of course you can regenerate proxy files once you build these new sequences if you need them. Yeah this is super cool for sure! So glad Alex figured out the first half.
Except they're rarely perfectly synced. Sometimes I get one, once I even had two. But most of the time I have three raw files that start 1~2 seconds after the ISO clip starts and they refuse to recognize each other as "proxy" and raw as "the timecode doesn't match" according to DVR.
00:00 *🎥 The video discusses a crucial workflow for ATEM Mini Pro ISO and ATEM Mini Extreme ISO users, enabling re-editing of live shows using DaVinci Resolve project files and ISO streams of each camera input.* 00:54 *🔄 The presenter, along with RUclipsr Alex Pettitt, has developed a method to match camera originals from any camera with ATEM-generated Resolve project files, allowing flexibility in recording formats and camera types.* 02:19 *🎬 Alex Pettitt's contribution involves turning flat clips in ATEM Resolve project files into true multicam clips, enhancing the re-editing process for ATEM users working with multiple cameras during live shows.* 03:44 *🔄 The synchronization process involves recording in the ATEM, recording in each camera, and using clear cues like audible clicks to sync the clips manually.* 04:12 *🖥️ After recording, copying ATEM and camera original files to the computer is the initial step for further re-editing using DaVinci Resolve.* 06:10 *🔄 Swapping out ATEM files with camera originals involves creating multicam clips, disabling conform lock, and reconforming from bins for each camera angle.* 08:27 *📏 Checking and adjusting project settings in DaVinci Resolve, including resolution and frame rate, is crucial for ensuring proper alignment of camera originals with the ATEM project.* 10:10 *🔍 Aligning 4K camera originals with 1080p ATEM footage involves creating compound clips, importing originals, and manually syncing using visual and audible cues.* 12:55 *🔄 The presented workflow extends flexibility to include high-quality audio recorded separately and synced to a camera angle, providing users with ultimate flexibility in post-production.*
seriously amazing. isn't it crazy this has been possible all along? just took brilliant minds to figure out this loophole. great work Joseph! using this tip on a project now and thrilled!
You're right - it wasn't clickbait - well done, guys. This indeed is massive for the ATEM Mini range - I have an old project I can try this out on straightaway and had given up using BM cameras anyway.
DOOOOPE! I was really thinking on how to do this months ago! This video save my life haha! Thanks Joseph and Alex, I'm following your wotk since 2020 with the atems keep going. Cheers from Costa Rica
Brilliant! I’d already watched Alex’s video and was so impressed. Now, to see you move that knowledge forward with this result is cool on multiple levels. Thank you both.
Perfect man! I was just chatting with BMD last week about doing exactly this. Been recording with an HD8 ISO with 6 inputs and wanted to go from the cut timeline to multicam clips just for easier changes. Nice job! 😁👍
It’ll be interesting to see. The suggestion I got was to use the cut page to create a sync relationship between the cuts in the timeline from the ATEM and the original footage, then switch or change angles by using replace clip on top of existing cuts. That method would work fine too, but I’d much rather have a multicam clip that I can just right click and choose a different angle.
@@JasonYadlovski what you’ve described is the official technique. It’s what Grant showed in the initial demo and is probably what’s in the manual. DM me on 𝕏 if you want to continue this conversation mate - as you know RUclips replies can be hard to notice.
BOOM...that is it. When Alex released his video a few days ago, I asked for the possibility of this process in my comment....while I have been thinking it may not be possible eventually... you took the baton and finished it off.💥💥💥 Thanks to you and Alex
Finally a workaround! Great job to both of you. Now let's just hope BMD can offer us this option in a firmware :). I stopped using the ATEM for this exact reason and I used the OG Shogun 7 instead (RIP Shogun 7). Now it opens this option for 8 cameras 🤯
If you follow until 5:21 you can speed up the process by following these steps. To start I have mapped "move clips up" to my page up key and "move clips down" to my page down key. I've followed everything @AlexPettitt / @photojoseph lay out for coloring the clips and setting up the multicam. Then I layerd the ATEM sequence on V4 and under it 3 copies of the multicam clip. V3 multicam (right click and switch to angle 3). V2 multicam (right click and switch to angle 2). V1 multicam (right click and switch to angle 1). Now select Timeline / Select Clips With Color / Select color for cam angle 1. With Cam angle 1 selected move clips down to cut through V3 and v2, and finally delete these angle 1 clips from the timeline. Next, Select Clips With Color / Select color for cam angle 2. Move cam angle 2 down, then delete these angle 2 clips from the timeline. Then you can remove the remaining clips on v4 (these are the remaining atem non multicam clips). Select all clips on Track three and move clips down. Then select everything on track 2 and move it down. ruclips.net/video/53t4GJuXwUI/видео.html
All I can say is THANK YOU! I was literally looking to invest in some BMPCC 4k/6k as a way of getting 4k+ recordings through my ISO Extreme ISO, but this workaround means I can use my current kit. Of course a few more clicks of the mouse, but well worth the saving!
This is great. A lot cheaper than Tentacle Sync, although a pretty complex procedure. I'm grateful you made this comprehensive tutorial. I'm adding it to my bag of tricks. The WWII clicker is great. I can think of many applications for that. One thing about it is that it's not as alarming to actors/talent as a slate. I'll be sure to save this and Alex's video for future recall. Thank you!
Very clever! I just watched Alex's video a couple of days ago and will give it a go, but now that i can swap out to use camera originals is awesome. Now we just need a clever bit of AI to produce a couple of Macros within Resolve to automate the whole process.
you're not the first person to want it automated! That would be great, but honestly once you get the routine down, it takes mere minutes to do. It goes faster when you're not explaining everything 😅
this is so amazing and has literally saved me weeks of my life! Thanks to you and Alex for figuring this out. Question: do you need to delete the iso file from the compound clip you created for each of the MC angles?
Your passion & professionalism is through the roof. I hold so much respect for what you share with your fellow creators around the world. Thank you Joseph ✌🏻😎🇦🇺☀️
Amazing video! I wish the ATEM ISO already generated a true multicam sequence for you so you didn't have to go through all these steps, but glad there is a way to do it. Yaay! :)
Could this multicam clip be used to color correct the cameras original clip? This is a technique (correcting the master clips and creating a good start poin t for different camera shots). I've used in FCP and its a main hesitation I've had in the Resolve multicam. I have seen ways to enter the color mods on the color coded and selected clips, But being able to modify the master clip is what I've been looking for. Great technique you outline that might let me move away from FCP Multicam clips. Thanks for the billiance here.
I’m not totally sure I follow. But let me see if I do. To grade a Resolve multi cam project, you can either grade each cut one by one, or open the multicam clip and grade each angle once. Either way works. And you can do both; do a base grade inside the multicam then finesse each cut (or just the ones that need it) on the timeline. Is that what you’re asking?
why not just select both clips inside the compound and right click and select Auto Align clips and then select by audio waveform? Or if you are using timecode select by timecode? nudging and zooming in seems like doing it the hard way.... But for what it's worth, thanks for the info. Will definitely utilize this
No, you're right. I thought that functionality was only inside multicam clips, and realized it after. I added a pinned comment and info to the description to update that. Thanks for watching!
This video is amazing! I started fiddling with Multicam Recently, but now being able to do all this with 4K to match the ISOs from the ATEM is just lovely. I'll need to figure out the camera part though, cause my camcorder doesn't allow me to record 4K while sharing content to the ATEM.
I have followed you for a number of years. I book marked a few of your tutorials on using the ATEM. I’ve moving towards DaVinci myself. I remember you doing some tutorials using the ATEM with FCPX. Could you send me one of these tutorials using FCPX with the ATEM?
Very nice. This also means that after this you can color correct the multicam clip, which in a lot of situations is much faster. It would still be better of course that BM changes the firmware that this is the default behaviour of an ISO recording project.
You dont even need to connect the cameras to atem, only the microphone 😊 you can have wireless atem setup but you will have to switch without seeing what goes on in a way Ive tried this before but I had it more complicated, I was replacing iso files and had to align the timecodes on them and that really was a lot of work Thank you so much ❤
Genius idea. If you use lumix box cameras, you could monitor all of the cameras over wifi in lumix tether as you switch with the atem. Maybe record a tentacle sync into the mic 1 so the ISO just records black files with camera timecode burnt in. You'd have to set up a black multicam project like in this video and then finally swap out the files via the audio timecode. I avoided doing many live shows for this reason - I didn't want to invest in wireless transmitters or lay long cables. This is perfect! Thanks again for the idea
@SlimboCanavi interesting. You’re the second person to talk about switching a show but not live streaming it, and not even connecting the cameras. Fascinating!
As long as you’re in the same frame rate there should be no drift. But if there were, you could compensate with a few slice and nudges inside the multicam clip.
This is absolutely awesome! Thanks for your help! Now the only thing missing for me is removing the multi-view labels box from atem mini iso, so I can use a clean feed in VMIX :D
Great work. I use timecode boxes from tentacle. So I can do multicam with or without an ATEM. Syncing is done supersimple. Anyone who earns their money with this should consider it. For prosumers yours is the way to go.
Using timecode to sync the cameras for an edit it later is of course, the better way to go. But that has nothing to do with what I’m doing here; the entire purpose of this workflow is that you can maintain the edits that you did in the live show without having to start from scratch. Or am I misunderstanding what you’re saying?
@@photojoseph I guess my usecase is different: During a recoding I don't have an live-editor on site and myself I am busy with presenting or dealing with clients. So yes both workflows serve two different purposes. Cool finding!
Does this work when you've used the ATEM's built in Picture in Picture? The project file has two video tracks, one with the main picture and above that a transformed version of camera 1, but only when PiP was active.
Great video thanks. What if we do want to use timecode - would the process be similar? I imagine the easiest solution would be to use a tentacle to record audio timecode onto the mic 2 track of the ATEM and then have that timecode match all the cameras. So - we'd have to somehow update the resolve file to match the tentacle's timecode. Is this possible?
Interesting. I’ve never tried recording timecode on an audio track into the ATEM but it should work. You can modify the timecode of any clip in Resolve, so I guess you could replace the ATEM clips with timecode that matches the external cameras. But I’m not sure that would save any time. I realized later (it’s now in the pinned comment) that you can auto sync the camera original and ATEM files in the compound clip by waveform. Using timecode would make that sync faster, but the time it would take to convert and replace the timecode might not be worth it. I’ll think some more about this. It’s certainly interesting.
Thank you! It was your video about timecode that really got me going down the rabbit hole with ATEM and timecode. I actually did accomplish this once by waveform syncing the camera files to the atem iso files in final cut and then bouncing the camera files again so they had the same timecode and length, and then doing the easy swap in davinci. (at that point without a true multicam clip which has only recently been discovered.). It was a time consuming process. Then I went digging online and I saw some people accomplish it by using a Teranex SDI to Audio, where the program from the ATEM goes in and audio timecode comes out, which can be used to jam the cameras. But that required pretty expensive gear as well as a conversion to SDI. But I thought that this idea of recording with the tentacle could be a lot easier. If you come up with any timecode solutions for swapping out iso files it would be awesome to see you make another video! You're right that it needs to be a time efficient process. We can't just replace one time consuming task (syncing and cutting) with another (bouncing out clips with a different timecode or losing our ability to quickly multicam edit the generated resolve file)
Simply amazing! Meanwhile, I just picked up two Blackmagic cameras (BMPCC 4K and 6K G2) so I can swap them for 4K originals. It bothered me that my two original main cameras were put on a shelf, but it seemed like that was my only option. I'll give this a try using my old Lumix G85, but unfortunately my old Canon 90D can't record to SD at the same time as sending clean HDMI to the ATEM, so I guess I still needed at least one new camera. Meanwhile, Blackmagic really should upgrade the ATEM Firmware for true Multicam. I think their approach is way too complicated.
@@photojoseph No time limit on the G85, which is the biggest advantage over the 90D. Funny thing, after writing this, I forgot I was already recording my 90D with an Atomos to beat the 30 minute limit I had on that camera, so bingo... I've officially got a way to run 4 simultaneous cameras with 4K or more.
@@photojoseph Oops... I've got so many cameras I forgot which Lumix I was using in my studio. It's a G95, not a G85, so in case anyone read my last comment, you were correct. The G85 does have the limit, but my G95 doesn't. It's been locked into a tripod since 2021 and the only place they show the model number is in a tiny sticker on the bottom, where I couldn't see it, especially since I power it via a dummy battery every time.
Hey @photojoseph, love all your content and you are the reason I picked up an Atem Mini Pro. I have this longstanding issue I was wondering have you came across before? I use mine exclusively for live switching in Zoom/Teams calls with Sony Camera and while it works fine, it has always bugged me that the camera flip screen displays a totally different image than I see when I check the video preview in MacOs (inside photo booth or Zoom). The image that comes into MacOS is darker and has slightly more muted colors. I set the color profile from the default BMD HDMI to the one you recommend but I know that’s not it as that’s more for pumping desktop video into the ATEM. I’m assuming I need to configure some settings on my camera itself so it outputs something more compatible with the Atem but no idea where to start. I use both a Sony A7SIII and a Sony ZV-E10
Definitely sounds like a Sony video output issue. I've not seen color shifts caused by the ATEM. Not being a Sony user I don't know where to point you, but I'm sure the camera has different profiles and control over the HDMI output. I'd start there.
Amazing video. What do you use to zoom in and out when are screen recording.also I record my audio from my rodecaster pro bc the audio isn’t great coming from the atem. Do you know of an easy way to swap out audio I normally have to go through a whole process. I also want to be able to edit multi cam on the edit tab but I know that’s not possible as far as I know.
1. Screenflow 2. Swap out audio the same way I swapped out video here. Just record the entire show and line it up with the ATEM audio track. 3. What I showed here is the edit page. Do you mean the Cut page? I never touch it; don’t know.
This is great, thanks a lot! But I've got a question. I'm using three A7iii cameras which has a 30 min recording limit. If my video is longer than that, would I still be able to record 4K locally in the cameras for longer than 30 min if they are connected to the ATEM?
No. You’re still recording internally. The ATEM will record indefinitely (only limited by the size of the connected drive), but the 4K recording is still internal to your camera. The only way around that limitation is to add 4K, recorders, externally, in between each camera and the ATEM.
Great stuff, is it possible to save the file out once all conversion are done and package it back like the original atem iso file. Basically want to hand the client a 4k in the format from the ATEM
A forewarning: I tested this on a video project duplicating the timeline first so as not to mess things up. I selected the dupe, did the final edit on it, and now upon trying to perform this swap, I've run into no end of errors. The wrong camera angles in the mulicam, clips changing color after swapping the first camera successfully, crashing, and other bizarre errors like there suddenly being two camera 3s while camera one is now camera two, etc. This isn't failsafe. I hope I haven't destroyed this edit.
this opens up a LOT of possibilites. I can carry 4 sony cameras and lenses in the space it takes 2 BMPCC and lenses. important considering I never check bags.
If it appears on the timeline, it works. Standard PiP shows up (USK, if memory serves). Pretty sure supersource doesn’t but I haven’t looked at that in ages.
Not easier, because there’s still no way to get timecode to the video assists from the ATEM. So it’s the same procedure but you can use the ProRes or RAW files from the VA!
Can you possibly show me how (on the ATEM Extreme) have both a Chroma background with subject in front and then put that into a PIP while I show Powerpoint slides?
I'm planning to answer your question on the live show, Friday 2024-11-29 14:00 GMT -- if you can't be there, of course the replay will be available! ruclips.net/user/liveRw2dAMCLPxI?feature=share
a small tip regarding sub-frame audio aligning: you CAN do that! make sure, you trim off a little footage in front and at the end, then you can nudge fine-grained with ALT-LEFT and ALT-RIGHT cursor key, but you have to cut front & back, so you have wiggle room! Also use the menu: Trim->Slip Audio
But wouldn’t that just slip the audio, potentially putting it out of sync with the video? I’d prefer that the new audio stay aligned with the new video, since the new audio is what will get used.
@@photojoseph that's absolutely true... still, since you are working in a multicam clip with more other "new" 4k clips, you will have to align audio in a later stage to the new videoS, and here, the ALT-LEFT/RIGHT might come in handy again...
@@dr.outdoor aha, gotcha. Yep, totally fair. I actually originally scripted an explanation of why the audio and video won’t line up properly unless you’re shootings with genlocked cameras but nixed it because I felt it was too esoteric for this video. Those who already know that will know that’s how to get perfect alignment; those who don’t won’t likely care or at least not want the lecture in this video. It’s my biggest struggle in making videos like these; deciding what to leave out!!
Did you disable the the other audio tracks. I know if I don't do that, the AUDIO is sometimes over modulated as having multi clips with the same audio it gets really Loud or the is a slight offset and you hear it..
I did not talk about audio (I should have) but yes 100% you want to disable the original audio track. As mentioned at the end, you could even bring in high quality audio via an 32-bit float recorder if you really wanted to get the best of the best.
NOTE: if you came here looking for a solution to the ATEM iso and raw clips having slightly different timecode starts and therefore not matching automatically, YES this is the solution - once you place the clips in the compound clip, align by timecode. HOWEVER! You must edit your project before changing it to a multicam project or you can't use your sync bin. Basically, this is the final step in your edit process instead of the first.
Ok, I followed this and it worked for half my show. I stopped the cameras in the middle for about 10 min and then started again. I see all my cuts but when I try to reconfirm from bins it isn’t doing anything to the clips that are in the 2nd half. What am I missing?
Ok! When you made the multicam, did you select all the clips, and enabled the option to put clips from the same camera on one track? Did you open the multicam and verify that all the clips were there, with a 10 minute gap where the camera wasn’t rolling?
@@photojosephit appears to only add the 1st group of clips even though I selected all. I tried just selecting the 2nd half clips and that worked. So now I have 1 multicam clip for the 1st half and another one for the 2nd. Do I have to edit them separately and then stick them together?
That’s not going to work for the conform. You had that checkbox “place clips from same cameras on one track” (something like that; I’m not looking at Resolve now) enabled? It must have put them somewhere or it would give you an error. You could manually place them and do the math for the distance between clips (when cameras were off) but that should not be necessary.
@photojoseph thanks so much for the help. I'm not sure why they won't sync automatically but I just did it manually. They are all black magic cameras so I'm not sure what the issue is. Time code helped.
Hi, this is an amazing video, and I've been using and learning from it since you posted it.. However. Ive hit an obstacle with this process. Everything seems to be ok, but when I render, Cam 1 seems soft. Its the front main cam. When I go into the compound clip of Cam 1, and delete the 1080p footage, and only leave the 4k imported footage (that I've correctly synced), the cam 1 on the main timeline goes black! So it seems its still using the 1080P. Id be incredibly grateful if you could give me a tip on what might be missing in my execution of the process.. i just cant figure it out.
You’ve made a compound clip, and you’re opening that comp to remove the HD clip? The fact that once it’s removed, the render is black tells me that it’s not seeing the 4K video file for some reason. Is it possible that the transparency is set to zero or that video track is disabled?
@@photojoseph checked both transparency and that the video track is enabled. When i play it in the Compound timeline, its definitely playing the 4k version. when i check the primary timeline, with the newly created multicam, the multicam reference for the Cam 1 is still referring to the original cam mp4, and not to the compound clip that was created. i think thats whats wrong. To summarise where I think I am. The multicam is created first, and its references are to the clips themselves. then i create a compound of cam 1, and add the 4k video to the compound. All good so far. but the primary timeline, with the now multicam all along the timeline, are still referencing the original multicam cam clips, and not the new compund ones.. I think i'm missing a step?
Sounds like you’re doing it right. I assume you already did the process of conforming to the original media or you wouldn’t have a true multi cam. Maybe it’s a cache issue, although that doesn’t really explain the black clip. Make some change to one of the multicam clips on cam 1 - add a filter, for example - to force it to redraw. If that fixed it, clear the entire cache using the cache manger. If that doesn’t help, I’d really need to see it. www.photojoseph.com/1to1 if it’s worth it for you.
one more question - if I have 2 files for camera 1 and 2 files for camera 2. For example if show has a break and I turned off the cameras. Reconform option is not working in this way. Only 1st camera is able to reconform. I tried to add different colors for 2nd camera but it doesn't work
Nice. I’ve been doing something similar in Premiere for the last couple years since I got the Atem Mini Extreme ISO. Davinci frustrates me because I can’t zoom in and out on the timeline with the track pad. 😂
Still seems overly complicated. The best (and easiest solution) I've found is just to run timecode into all of the cameras. I really wish ATEM gave us a dedicated timecode input. It would solve ALL of these issues. Appreciate the time you and Alex have put into figuring this out though!
Agreed about timecode input. You can on the bigger ATEM models but not the ones that spit out this resolve file. Timecode though wouldn’t solve all the issues. You still need to match back the mukticam clip.
Im a complete beginner, so I might be missing something. Don't I have to delete the original A/V track in the compound clip I created to ensure I get the 4K out? Or am i just relying on that the top track is rendered first? Would there be any repercussions to deleting the old ATEM 1080P track?
Only the top layer of video is visible. All audio would be audible so you’d need to mute the original audio track; I neglected to show that but that will be figured out quickly. The only reason to retain the original video is to have a known sync track, but yes once everything is in place it’s safe to delete.
@@photojoseph Thats amazing, thanks for the hard work and sharing this with us. I've been recording in-camera 4K, and manually replacing, syncing and editing it before render.. This will make a big difference for me. Cheers
Do you know if you record with the Atomos Sumo19SE, that it creates a multicam clip straight away to use in Resolve? I saw your other video on the Shogun 7 from 3 years ago, and in Final cut it's an instant multicam. Either way, I guess this workaround should also work with the Sumo19se?
@@photojoseph You misinterpreted me I think, in your own video with the Shogun 7 it looks like there is an instant multicamclip in FCPX straight from the XML file. That's why I was wondering if that was correct, or whether you did it personally in post, but didn't put it in the video. Either way, still amazing that you and Alex found this workaround!
Does the multicam clip work on the cut page? I've grown to love the speed editor and would hate to sacrifice the sync bin feature if the multicam clip doesn't work with the multicam buttons on the speed editor on the cut page.
No. The original non-multicam timeline is designed for the cut page. I am pretty sure proper multi cam clips don’t work in the cut page. I could be wrong though; in not a fan of the cut page.
It if you record log on cameras won’t it show up in log form on the atem mini pro iso? How do I make it log on the camera but have a “normal” 1080p image on the atem?
On the LUMIX cameras, you can choose for the LCD and/or the HDMI out to have a LUT applied so it looks “normal”, but the recording will be Log. I don’t know what other manufacturers cameras can or can’t do.
I have a nightmare I can’t see multicam on either iPad laptop or monitor I’ve got hdmi out in atem iso plugged into computer or iPad how do I tell it to show me the 3 cameras I have all plugged in
Not without troubleshooting it personally. All I can say is do it again and ensure every step is followed precisely. These written instructions might help. photojoseph.com/moment/most-important-atem-video-youll-watch-use-any-camera-original-atem-iso-re-edits/20638
Joseph, can you help. We just upgraded from atem mini pro iso to the extreme, right in the middle of our first recording I see the recording indicator flashing, and now we have to keep stopping. We have one of the recommended drives, it's set up correctly, can you tell us why this is happening?
I have not tried that drive. All I can really recommend is trying another drive, or at minimum a different cable, although that's not likely the issue, assuming you're using the cable that came with the drive. Actually if the drive _didn't_ come with a cable, and you're using whatever you had laying around, that's likely the issue. Not all USB-C cables are the same; make sure it's a high speed data cable. Let me know what you learn!
@@photojoseph Thanks Joseph, We were using the cable that came with the drive. I ordered a new SSD drive so we will see. Thanks for your help. Love the work/content you do on here, you have saved us so much time and trouble with your videos, they have helped us in creating a great workflow that woulld've taken us forever to put together! Very much appreciated.
Not an all-in-one. They have the Television Studio 4K which is $5,000 but does not include recording. You can add 4K recorders; either one for the Program or as many as you want for each input to record and pass-through. Of course the intention is that you’ll record 4K or 6K in-camera, but if you needed to do it externally, you could. You would however NOT be getting an XML file.
I just realized you can auto-align clips in the Compound Clip so you don't have to manually align them!! Once you add the camera original video on top of the 1080p clip, select both, right-click and choose *"Auto Align Clips > Based on Waveform"* . Sheesh.
Boom!
I was waiting to see if I saw this as a reply but I am glad that you figured out that you can do that auto align based on waveform in a compound clip.
@@WeCreateMusicTV yeah for some reason I thought that was only in mukticam clips. Wish I’d looked for it sooner! 🤦🏼
I was wondering why you didnt do that as I was watching but good to see you picked up on it.
@@photojoseph But most importantly, thank you for your genius! While it is easy for us to point out what you could have done, we sometimes forget to give thanks for the time, effort, and genius it takes in putting these videos together and sharing with us to help us put out the best products.
Amazing. Just amazing. This video has not only saved me thousands in investing new cameras and lenses (and saved me from having to re-wire the entire studio as a consequence) but also made the Atem mini workflow attractive again. Thank you for tirelessly discovering hidden features and presenting them in an easy-to-follow, clear way.
Love hearing that! Thanks for watching ☺️
Can you believe this is actually possible? It's been right under our noses for YEARS and it took Alex to figure out the first half… which led to the second half. WOW.
All of us together,... there's nothing we can't do 👍
Alex is the man.
Yep!
@@photojoseph Is there a way to take this into premiere afterwards? export the XML via 3rd party and then hey presto?
Conveniently I saw Alex’s video this morning which helped me follow through with an ISO file we just recorded. Note I can appear really smart with my colleagues even though you two did all the heavy lifting. Thank you!!
Haha happy to help make you look awesome 🤩
Been dying for a 4K solution forever on this without buying BMCC, and you've totally made my night. Well worth the little bit of work. Can't wait to try this.
Awesome!!
I KNEW there had to be a way to do this!! I can't believe Blackmagic makes it so difficult to do EXACTLY what you (and I) have always wanted to do with the ISO Models and multicam edits. Thank you Joseph! This is awesome!
Yeah man! I’m stoked we figured this out!!
If you're using blackmagic cameras, replacing clips is not so difficult, you can just replace ISO files with original raw files from cameras as they are already perfectly synced, but this is a real game changer for everyone not using bm cameras with atem. And of course, the fact that you can have multicam sequence instead of the original atem timeline is priceless. Thank you guys for doing this! 🎉❤
Actually, if you have BMD cameras, all you have to do is put the RAW files in the folder and Resolve finds them, and treats the RAW as originals and the 1080p as proxies. But of course you can regenerate proxy files once you build these new sequences if you need them. Yeah this is super cool for sure! So glad Alex figured out the first half.
Except they're rarely perfectly synced. Sometimes I get one, once I even had two. But most of the time I have three raw files that start 1~2 seconds after the ISO clip starts and they refuse to recognize each other as "proxy" and raw as "the timecode doesn't match" according to DVR.
00:00 *🎥 The video discusses a crucial workflow for ATEM Mini Pro ISO and ATEM Mini Extreme ISO users, enabling re-editing of live shows using DaVinci Resolve project files and ISO streams of each camera input.*
00:54 *🔄 The presenter, along with RUclipsr Alex Pettitt, has developed a method to match camera originals from any camera with ATEM-generated Resolve project files, allowing flexibility in recording formats and camera types.*
02:19 *🎬 Alex Pettitt's contribution involves turning flat clips in ATEM Resolve project files into true multicam clips, enhancing the re-editing process for ATEM users working with multiple cameras during live shows.*
03:44 *🔄 The synchronization process involves recording in the ATEM, recording in each camera, and using clear cues like audible clicks to sync the clips manually.*
04:12 *🖥️ After recording, copying ATEM and camera original files to the computer is the initial step for further re-editing using DaVinci Resolve.*
06:10 *🔄 Swapping out ATEM files with camera originals involves creating multicam clips, disabling conform lock, and reconforming from bins for each camera angle.*
08:27 *📏 Checking and adjusting project settings in DaVinci Resolve, including resolution and frame rate, is crucial for ensuring proper alignment of camera originals with the ATEM project.*
10:10 *🔍 Aligning 4K camera originals with 1080p ATEM footage involves creating compound clips, importing originals, and manually syncing using visual and audible cues.*
12:55 *🔄 The presented workflow extends flexibility to include high-quality audio recorded separately and synced to a camera angle, providing users with ultimate flexibility in post-production.*
seriously amazing. isn't it crazy this has been possible all along? just took brilliant minds to figure out this loophole. great work Joseph! using this tip on a project now and thrilled!
Nice to see you here buddy! Yeah, this is pretty awesome. Now to figure out where else to apply this ancient and awesome technology :-)
You're right - it wasn't clickbait - well done, guys. This indeed is massive for the ATEM Mini range - I have an old project I can try this out on straightaway and had given up using BM cameras anyway.
Niiiice!!
DOOOOPE! I was really thinking on how to do this months ago! This video save my life haha! Thanks Joseph and Alex, I'm following your wotk since 2020 with the atems keep going. Cheers from Costa Rica
Brilliant! I’d already watched Alex’s video and was so impressed. Now, to see you move that knowledge forward with this result is cool on multiple levels. Thank you both.
Awesome, thank you!
It always bothered me that Blackmagic didn't make the ATEM Mini create an actual multicam clip to begin with!
Maybe because if they did, they knew that we figured this part out pretty quickly.
Agreed! It should be multicam right out of the ATEM. 😁👍
This is a great discovery! Well done to you and Alex for the workflow!
Thanks a lot!
Perfect man! I was just chatting with BMD last week about doing exactly this. Been recording with an HD8 ISO with 6 inputs and wanted to go from the cut timeline to multicam clips just for easier changes. Nice job! 😁👍
Awesome! I wonder what they’ll think of this video 😅
It’ll be interesting to see. The suggestion I got was to use the cut page to create a sync relationship between the cuts in the timeline from the ATEM and the original footage, then switch or change angles by using replace clip on top of existing cuts. That method would work fine too, but I’d much rather have a multicam clip that I can just right click and choose a different angle.
@@JasonYadlovski what you’ve described is the official technique. It’s what Grant showed in the initial demo and is probably what’s in the manual. DM me on 𝕏 if you want to continue this conversation mate - as you know RUclips replies can be hard to notice.
BOOM...that is it. When Alex released his video a few days ago, I asked for the possibility of this process in my comment....while I have been thinking it may not be possible eventually... you took the baton and finished it off.💥💥💥 Thanks to you and Alex
Haha thanks man!
Thank you for improving the process from Alex to the next step. This improves the workflow and also the results so much.
Finally a workaround! Great job to both of you. Now let's just hope BMD can offer us this option in a firmware :). I stopped using the ATEM for this exact reason and I used the OG Shogun 7 instead (RIP Shogun 7). Now it opens this option for 8 cameras 🤯
Fingers crossed!
If you follow until 5:21 you can speed up the process by following these steps. To start I have mapped "move clips up" to my page up key and "move clips down" to my page down key. I've followed everything @AlexPettitt / @photojoseph lay out for coloring the clips and setting up the multicam. Then I layerd the ATEM sequence on V4 and under it 3 copies of the multicam clip. V3 multicam (right click and switch to angle 3). V2 multicam (right click and switch to angle 2). V1 multicam (right click and switch to angle 1). Now select Timeline / Select Clips With Color / Select color for cam angle 1. With Cam angle 1 selected move clips down to cut through V3 and v2, and finally delete these angle 1 clips from the timeline. Next, Select Clips With Color / Select color for cam angle 2. Move cam angle 2 down, then delete these angle 2 clips from the timeline. Then you can remove the remaining clips on v4 (these are the remaining atem non multicam clips). Select all clips on Track three and move clips down. Then select everything on track 2 and move it down. ruclips.net/video/53t4GJuXwUI/видео.html
This is wonderful! I was worried about not getting 4k especially when I want to zoom in on a shot. This work around is awesome! Thank you!!
All I can say is THANK YOU! I was literally looking to invest in some BMPCC 4k/6k as a way of getting 4k+ recordings through my ISO Extreme ISO, but this workaround means I can use my current kit. Of course a few more clicks of the mouse, but well worth the saving!
That’s awesome! 🤔 if you want to take a drop of that savings, consider joining the channel - multiple tiers and we have a private discord!
THIS IS HUGE! I was trying to figure this out a few years back when the Minis first landed with no success. Incredible work by Alex.
Agreed 100%! This is awesome and Alex is a hero.
This is great. A lot cheaper than Tentacle Sync, although a pretty complex procedure. I'm grateful you made this comprehensive tutorial. I'm adding it to my bag of tricks. The WWII clicker is great. I can think of many applications for that. One thing about it is that it's not as alarming to actors/talent as a slate. I'll be sure to save this and Alex's video for future recall. Thank you!
Honestly the process is simple once you get the hang of it, and it can be done in just a couple of minutes.
realll slick. could be crazy useful to a ton of user already taking advantage of ISO recording
And I think users who wouldn’t have bothered. I think it’s huge.
still never picked up an atem but I've had it as a possibility to sort of live-produce tutorials as I record for a while
Very clever! I just watched Alex's video a couple of days ago and will give it a go, but now that i can swap out to use camera originals is awesome. Now we just need a clever bit of AI to produce a couple of Macros within Resolve to automate the whole process.
you're not the first person to want it automated! That would be great, but honestly once you get the routine down, it takes mere minutes to do. It goes faster when you're not explaining everything 😅
This is great! Not only opens up using different cameras but also wireless camera angles and SDI feeds as well.
Yeah!
this is so amazing and has literally saved me weeks of my life! Thanks to you and Alex for figuring this out. Question: do you need to delete the iso file from the compound clip you created for each of the MC angles?
no need, just leave them under the full resolution files.
Your passion & professionalism is through the roof. I hold so much respect for what you share with your fellow creators around the world.
Thank you Joseph ✌🏻😎🇦🇺☀️
Aw man, thank you! Best comment ever - you are appreciated!!
Amazing video! I wish the ATEM ISO already generated a true multicam sequence for you so you didn't have to go through all these steps, but glad there is a way to do it. Yaay! :)
Yep - but since they don’t, I made this video! 😁
Mind blowing! I was thinking on investing on a 4K switcher until this video! Thank you!!!
Could this multicam clip be used to color correct the cameras original clip? This is a technique (correcting the master clips and creating a good start poin t for different camera shots). I've used in FCP and its a main hesitation I've had in the Resolve multicam. I have seen ways to enter the color mods on the color coded and selected clips, But being able to modify the master clip is what I've been looking for. Great technique you outline that might let me move away from FCP Multicam clips. Thanks for the billiance here.
I’m not totally sure I follow. But let me see if I do. To grade a Resolve multi cam project, you can either grade each cut one by one, or open the multicam clip and grade each angle once. Either way works. And you can do both; do a base grade inside the multicam then finesse each cut (or just the ones that need it) on the timeline. Is that what you’re asking?
why not just select both clips inside the compound and right click and select Auto Align clips and then select by audio waveform? Or if you are using timecode select by timecode? nudging and zooming in seems like doing it the hard way.... But for what it's worth, thanks for the info. Will definitely utilize this
No, you're right. I thought that functionality was only inside multicam clips, and realized it after. I added a pinned comment and info to the description to update that. Thanks for watching!
This video is amazing! I started fiddling with Multicam Recently, but now being able to do all this with 4K to match the ISOs from the ATEM is just lovely.
I'll need to figure out the camera part though, cause my camcorder doesn't allow me to record 4K while sharing content to the ATEM.
Nice! And yes some cameras can only record HD while outputting over HDMI. Sounds like you’ll need a new camera.
Can you do a video about that case you're using for the ATEM? That looks cool!
Yeah! I actually did a live show on it last year: ruclips.net/user/liveBXyAOjwZ4t8?si=1DA5-CZi-EXpJ36e
@@photojoseph Thank you!
I have followed you for a number of years. I book marked a few of your tutorials on using the ATEM. I’ve moving towards DaVinci myself. I remember you doing some tutorials using the ATEM with FCPX. Could you send me one of these tutorials using FCPX with the ATEM?
Thanks! You might be thinking of this video… ruclips.net/video/vwPH4l5R-dw/видео.htmlsi=njX-zruw7IyIDKTk
Very nice. This also means that after this you can color correct the multicam clip, which in a lot of situations is much faster. It would still be better of course that BM changes the firmware that this is the default behaviour of an ISO recording project.
Yes exactly. As for BMD changing it; I wonder if this is why they haven’t. Prior to this the only workflow was buying their cameras.
Joesph, dude you rock! Thank you! Great work around!
Thank you!!
You dont even need to connect the cameras to atem, only the microphone 😊 you can have wireless atem setup but you will have to switch without seeing what goes on in a way
Ive tried this before but I had it more complicated, I was replacing iso files and had to align the timecodes on them and that really was a lot of work
Thank you so much ❤
Interesting approach!
Genius idea. If you use lumix box cameras, you could monitor all of the cameras over wifi in lumix tether as you switch with the atem.
Maybe record a tentacle sync into the mic 1 so the ISO just records black files with camera timecode burnt in.
You'd have to set up a black multicam project like in this video and then finally swap out the files via the audio timecode.
I avoided doing many live shows for this reason - I didn't want to invest in wireless transmitters or lay long cables.
This is perfect! Thanks again for the idea
@SlimboCanavi interesting. You’re the second person to talk about switching a show but not live streaming it, and not even connecting the cameras. Fascinating!
Hi Joseph!
It was very nice to meet you in Budapest today!
Gabor
I’m glad you said hello! This is such a beautiful city. We’re really enjoying it.
Really impressive, thanks! I wonder if it would be possible to make a plugin to automate this.
Maybe!
Does this work for 2h+ productions? Or will the drift make it unfeasible for anything longer than a few minutes?
As long as you’re in the same frame rate there should be no drift. But if there were, you could compensate with a few slice and nudges inside the multicam clip.
This is absolutely awesome! Thanks for your help! Now the only thing missing for me is removing the multi-view labels box from atem mini iso, so I can use a clean feed in VMIX :D
Glad it helped! Don’t think you can wipe those labels though. Unless… have you tried putting no name on the inputs?
@@photojoseph I do, with no letters we are left with a black box. I have found some requests on their forum, but they don't reply and don't fix :(
They have released an update, version 9.5, and now this is possible! UHUUUUU
Nice work. This is super helpful. Hopefully they just update the atem firmware in the future to support this without the workaround.
I kinda wonder if they didn't make the files multicam to start with because they didn't want anyone to figure out this next step 🤔
@@photojoseph Totally. They are kind of disincentivized to expand the Resolve timeline functionality from a business perspective.
Great work. I use timecode boxes from tentacle. So I can do multicam with or without an ATEM. Syncing is done supersimple. Anyone who earns their money with this should consider it. For prosumers yours is the way to go.
Using timecode to sync the cameras for an edit it later is of course, the better way to go. But that has nothing to do with what I’m doing here; the entire purpose of this workflow is that you can maintain the edits that you did in the live show without having to start from scratch. Or am I misunderstanding what you’re saying?
@@photojoseph I guess my usecase is different: During a recoding I don't have an live-editor on site and myself I am busy with presenting or dealing with clients. So yes both workflows serve two different purposes. Cool finding!
Does this work when you've used the ATEM's built in Picture in Picture? The project file has two video tracks, one with the main picture and above that a transformed version of camera 1, but only when PiP was active.
Huh… I’m not sure how the scale would translate. I’ll try it tomorrow!
I tested it, and it works perfectly.
Great video thanks. What if we do want to use timecode - would the process be similar? I imagine the easiest solution would be to use a tentacle to record audio timecode onto the mic 2 track of the ATEM and then have that timecode match all the cameras. So - we'd have to somehow update the resolve file to match the tentacle's timecode. Is this possible?
Interesting. I’ve never tried recording timecode on an audio track into the ATEM but it should work. You can modify the timecode of any clip in Resolve, so I guess you could replace the ATEM clips with timecode that matches the external cameras. But I’m not sure that would save any time. I realized later (it’s now in the pinned comment) that you can auto sync the camera original and ATEM files in the compound clip by waveform. Using timecode would make that sync faster, but the time it would take to convert and replace the timecode might not be worth it. I’ll think some more about this. It’s certainly interesting.
Thank you! It was your video about timecode that really got me going down the rabbit hole with ATEM and timecode. I actually did accomplish this once by waveform syncing the camera files to the atem iso files in final cut and then bouncing the camera files again so they had the same timecode and length, and then doing the easy swap in davinci. (at that point without a true multicam clip which has only recently been discovered.). It was a time consuming process.
Then I went digging online and I saw some people accomplish it by using a Teranex SDI to Audio, where the program from the ATEM goes in and audio timecode comes out, which can be used to jam the cameras.
But that required pretty expensive gear as well as a conversion to SDI.
But I thought that this idea of recording with the tentacle could be a lot easier.
If you come up with any timecode solutions for swapping out iso files it would be awesome to see you make another video! You're right that it needs to be a time efficient process. We can't just replace one time consuming task (syncing and cutting) with another (bouncing out clips with a different timecode or losing our ability to quickly multicam edit the generated resolve file)
Simply amazing! Meanwhile, I just picked up two Blackmagic cameras (BMPCC 4K and 6K G2) so I can swap them for 4K originals. It bothered me that my two original main cameras were put on a shelf, but it seemed like that was my only option. I'll give this a try using my old Lumix G85, but unfortunately my old Canon 90D can't record to SD at the same time as sending clean HDMI to the ATEM, so I guess I still needed at least one new camera. Meanwhile, Blackmagic really should upgrade the ATEM Firmware for true Multicam. I think their approach is way too complicated.
Yeah the G85 will do it. It might have the 29:29 limit? I don’t remember.
@@photojoseph No time limit on the G85, which is the biggest advantage over the 90D. Funny thing, after writing this, I forgot I was already recording my 90D with an Atomos to beat the 30 minute limit I had on that camera, so bingo... I've officially got a way to run 4 simultaneous cameras with 4K or more.
@@AskJoe woohoo!!
@@photojoseph Oops... I've got so many cameras I forgot which Lumix I was using in my studio. It's a G95, not a G85, so in case anyone read my last comment, you were correct. The G85 does have the limit, but my G95 doesn't. It's been locked into a tripod since 2021 and the only place they show the model number is in a tiny sticker on the bottom, where I couldn't see it, especially since I power it via a dummy battery every time.
excellent tutorial! why doesn't this dude have 100k subs for all his excellent and hard work?
Thank you, I appreciate that! Hopefully one closer to 100k with you 🥹
I’m moving over to DaVinci slowly. Do you have a tutorial for FCPX for the ATEM?
For specifically editing the ISO -generated Resolve files; yes! ruclips.net/video/vwPH4l5R-dw/видео.htmlsi=njX-zruw7IyIDKTk
Hey @photojoseph, love all your content and you are the reason I picked up an Atem Mini Pro. I have this longstanding issue I was wondering have you came across before? I use mine exclusively for live switching in Zoom/Teams calls with Sony Camera and while it works fine, it has always bugged me that the camera flip screen displays a totally different image than I see when I check the video preview in MacOs (inside photo booth or Zoom). The image that comes into MacOS is darker and has slightly more muted colors. I set the color profile from the default BMD HDMI to the one you recommend but I know that’s not it as that’s more for pumping desktop video into the ATEM. I’m assuming I need to configure some settings on my camera itself so it outputs something more compatible with the Atem but no idea where to start. I use both a Sony A7SIII and a Sony ZV-E10
Definitely sounds like a Sony video output issue. I've not seen color shifts caused by the ATEM. Not being a Sony user I don't know where to point you, but I'm sure the camera has different profiles and control over the HDMI output. I'd start there.
Do you record your screen with software? Or HDMI to the ATEM as well?
Software; Screenflow.
can you talk about your atem case setup? Thanks for this video!
ruclips.net/user/liveBXyAOjwZ4t8?si=1DA5-CZi-EXpJ36e
Amazing video. What do you use to zoom in and out when are screen recording.also I record my audio from my rodecaster pro bc the audio isn’t great coming from the atem. Do you know of an easy way to swap out audio I normally have to go through a whole process. I also want to be able to edit multi cam on the edit tab but I know that’s not possible as far as I know.
1. Screenflow
2. Swap out audio the same way I swapped out video here. Just record the entire show and line it up with the ATEM audio track.
3. What I showed here is the edit page. Do you mean the Cut page? I never touch it; don’t know.
What case are yu using for the atem switcher and monitor? or is that a custom case
It’s custom but you can buy it. Product: geni.us/PocketVideoStudioNY and video ruclips.net/user/liveBXyAOjwZ4t8?si=1DA5-CZi-EXpJ36e
Might have to get an Atem ISO now.
This is great, thanks a lot! But I've got a question. I'm using three A7iii cameras which has a 30 min recording limit. If my video is longer than that, would I still be able to record 4K locally in the cameras for longer than 30 min if they are connected to the ATEM?
No. You’re still recording internally. The ATEM will record indefinitely (only limited by the size of the connected drive), but the 4K recording is still internal to your camera. The only way around that limitation is to add 4K, recorders, externally, in between each camera and the ATEM.
Really well done video. NO BS TO THE POINT!
Haha thanks!
Great stuff, is it possible to save the file out once all conversion are done and package it back like the original atem iso file. Basically want to hand the client a 4k in the format from the ATEM
Oh yeah, totally. Resolve has a great “export project” option.
Finally! This is legendary!
Haha thank you!!
A forewarning: I tested this on a video project duplicating the timeline first so as not to mess things up. I selected the dupe, did the final edit on it, and now upon trying to perform this swap, I've run into no end of errors. The wrong camera angles in the mulicam, clips changing color after swapping the first camera successfully, crashing, and other bizarre errors like there suddenly being two camera 3s while camera one is now camera two, etc.
This isn't failsafe. I hope I haven't destroyed this edit.
Bizarre. You should of course still have the original on the SSD connected to the ATEM. Do let us know if you figure out what went wrong!
this opens up a LOT of possibilites. I can carry 4 sony cameras and lenses in the space it takes 2 BMPCC and lenses. important considering I never check bags.
That’s awesome
@photojoseph AMAZING!! But I’m distracted. I need to know what is that light behind you and possibly a link! Haha Thanks!! 😂😂
Haha you’re not the first! I bought it at a store in Slovenia called Mömax but I’ve seen similar designs at other shops too.
It is called „Beauty Dish“, as far as I know…
at 3:52 what case/case-monitor are you using that has a prebuild in space for the atem pro iso ?
It’s in the description
This is really useful!
Yes it is! 😁
Wow! Thank you, MIND BLOWN🤯
Woohoo!
Cool! Did you also manage to find a solution for the Supersource, DSK and USK. Don't appear in the timeline?
If it appears on the timeline, it works. Standard PiP shows up (USK, if memory serves). Pretty sure supersource doesn’t but I haven’t looked at that in ages.
Would you tell me more about the background light that you are using?
Bought on sale st Mömax in Slovenia for €99
Thank you They look great and it was an excellent video! @@photojoseph
@budokahn thanks!
I really wish ATEMs where 4K 30 with HDMI 1.4 at least, if not HDMI 2.0 with 4K 60 for livestreams. Apart from that they are great
They are. You need a 4K model.
@@photojoseph oh snap there is a 4K model? Yep I completely missed it. Let's have a look
Several! Even 8K!
Why not using the auto align clips by audio option ?
See my pinned comment 😳
Tx wonderfull workflow... :-)
😊
If I have a BMD video assist to each camera, does that helps me doing the replace of the video easier? Does it act as a camera?
Not easier, because there’s still no way to get timecode to the video assists from the ATEM. So it’s the same procedure but you can use the ProRes or RAW files from the VA!
Can you possibly show me how (on the ATEM Extreme) have both a Chroma background with subject in front and then put that into a PIP while I show Powerpoint slides?
I'm planning to answer your question on the live show, Friday 2024-11-29 14:00 GMT -- if you can't be there, of course the replay will be available! ruclips.net/user/liveRw2dAMCLPxI?feature=share
a small tip regarding sub-frame audio aligning: you CAN do that! make sure, you trim off a little footage in front and at the end, then you can nudge fine-grained with ALT-LEFT and ALT-RIGHT cursor key, but you have to cut front & back, so you have wiggle room! Also use the menu: Trim->Slip Audio
But wouldn’t that just slip the audio, potentially putting it out of sync with the video? I’d prefer that the new audio stay aligned with the new video, since the new audio is what will get used.
@@photojoseph that's absolutely true... still, since you are working in a multicam clip with more other "new" 4k clips, you will have to align audio in a later stage to the new videoS, and here, the ALT-LEFT/RIGHT might come in handy again...
@@dr.outdoor aha, gotcha. Yep, totally fair. I actually originally scripted an explanation of why the audio and video won’t line up properly unless you’re shootings with genlocked cameras but nixed it because I felt it was too esoteric for this video. Those who already know that will know that’s how to get perfect alignment; those who don’t won’t likely care or at least not want the lecture in this video. It’s my biggest struggle in making videos like these; deciding what to leave out!!
@@photojosephgot it :) too nerdy stuff going on :) but who's talking ATEM, Blackmagic and Multicam is already deep sh#$ into nerdy stuff :) :)
Haha yeah, but also videos get too long and people who don’t want the extra time out. It’s a tough balance.
Did you disable the the other audio tracks. I know if I don't do that, the AUDIO is sometimes over modulated as having multi clips with the same audio it gets really Loud or the is a slight offset and you hear it..
I did not talk about audio (I should have) but yes 100% you want to disable the original audio track. As mentioned at the end, you could even bring in high quality audio via an 32-bit float recorder if you really wanted to get the best of the best.
I will not use it, but I watched whole video because I like smart ideas ;) THX
😅 I appreciate that!
@@photojoseph I can't because I have Mini Pro, not ISO. ;)
NOTE: if you came here looking for a solution to the ATEM iso and raw clips having slightly different timecode starts and therefore not matching automatically, YES this is the solution - once you place the clips in the compound clip, align by timecode. HOWEVER! You must edit your project before changing it to a multicam project or you can't use your sync bin.
Basically, this is the final step in your edit process instead of the first.
Interesting. You can also offset timecode in the clip attributes. Wouldn’t that help too?
Thank you! and Thank you!
You are so welcome!
Ok, I followed this and it worked for half my show. I stopped the cameras in the middle for about 10 min and then started again. I see all my cuts but when I try to reconfirm from bins it isn’t doing anything to the clips that are in the 2nd half. What am I missing?
Ok! When you made the multicam, did you select all the clips, and enabled the option to put clips from the same camera on one track? Did you open the multicam and verify that all the clips were there, with a 10 minute gap where the camera wasn’t rolling?
@@photojosephit appears to only add the 1st group of clips even though I selected all. I tried just selecting the 2nd half clips and that worked. So now I have 1 multicam clip for the 1st half and another one for the 2nd. Do I have to edit them separately and then stick them together?
That’s not going to work for the conform. You had that checkbox “place clips from same cameras on one track” (something like that; I’m not looking at Resolve now) enabled? It must have put them somewhere or it would give you an error. You could manually place them and do the math for the distance between clips (when cameras were off) but that should not be necessary.
@photojoseph thanks so much for the help. I'm not sure why they won't sync automatically but I just did it manually. They are all black magic cameras so I'm not sure what the issue is. Time code helped.
Hi, this is an amazing video, and I've been using and learning from it since you posted it.. However. Ive hit an obstacle with this process. Everything seems to be ok, but when I render, Cam 1 seems soft. Its the front main cam. When I go into the compound clip of Cam 1, and delete the 1080p footage, and only leave the 4k imported footage (that I've correctly synced), the cam 1 on the main timeline goes black! So it seems its still using the 1080P. Id be incredibly grateful if you could give me a tip on what might be missing in my execution of the process.. i just cant figure it out.
You’ve made a compound clip, and you’re opening that comp to remove the HD clip? The fact that once it’s removed, the render is black tells me that it’s not seeing the 4K video file for some reason. Is it possible that the transparency is set to zero or that video track is disabled?
@@photojoseph checked both transparency and that the video track is enabled. When i play it in the Compound timeline, its definitely playing the 4k version. when i check the primary timeline, with the newly created multicam, the multicam reference for the Cam 1 is still referring to the original cam mp4, and not to the compound clip that was created. i think thats whats wrong.
To summarise where I think I am. The multicam is created first, and its references are to the clips themselves. then i create a compound of cam 1, and add the 4k video to the compound. All good so far. but the primary timeline, with the now multicam all along the timeline, are still referencing the original multicam cam clips, and not the new compund ones.. I think i'm missing a step?
Sounds like you’re doing it right. I assume you already did the process of conforming to the original media or you wouldn’t have a true multi cam.
Maybe it’s a cache issue, although that doesn’t really explain the black clip. Make some change to one of the multicam clips on cam 1 - add a filter, for example - to force it to redraw. If that fixed it, clear the entire cache using the cache manger. If that doesn’t help, I’d really need to see it. www.photojoseph.com/1to1 if it’s worth it for you.
This is exactly what I have been looking for!
Awesome!
one more question - if I have 2 files for camera 1 and 2 files for camera 2. For example if show has a break and I turned off the cameras. Reconform option is not working in this way. Only 1st camera is able to reconform. I tried to add different colors for 2nd camera but it doesn't work
Make sure when you make the multicam it’s putting the different clips from the same camera on the same track (same camera angle).
Nice. I’ve been doing something similar in Premiere for the last couple years since I got the Atem Mini Extreme ISO. Davinci frustrates me because I can’t zoom in and out on the timeline with the track pad. 😂
haha isn't it funny how those little things break an app for us??
Still seems overly complicated. The best (and easiest solution) I've found is just to run timecode into all of the cameras. I really wish ATEM gave us a dedicated timecode input. It would solve ALL of these issues. Appreciate the time you and Alex have put into figuring this out though!
Agreed about timecode input. You can on the bigger ATEM models but not the ones that spit out this resolve file. Timecode though wouldn’t solve all the issues. You still need to match back the mukticam clip.
Im a complete beginner, so I might be missing something. Don't I have to delete the original A/V track in the compound clip I created to ensure I get the 4K out? Or am i just relying on that the top track is rendered first? Would there be any repercussions to deleting the old ATEM 1080P track?
Only the top layer of video is visible. All audio would be audible so you’d need to mute the original audio track; I neglected to show that but that will be figured out quickly. The only reason to retain the original video is to have a known sync track, but yes once everything is in place it’s safe to delete.
@@photojoseph Thats amazing, thanks for the hard work and sharing this with us. I've been recording in-camera 4K, and manually replacing, syncing and editing it before render.. This will make a big difference for me. Cheers
Fantastic!!
Do you know if you record with the Atomos Sumo19SE, that it creates a multicam clip straight away to use in Resolve? I saw your other video on the Shogun 7 from 3 years ago, and in Final cut it's an instant multicam. Either way, I guess this workaround should also work with the Sumo19se?
I did not know that the sumo did that. But yes, the same theory would apply. Very interesting indeed.
@@photojoseph You misinterpreted me I think, in your own video with the Shogun 7 it looks like there is an instant multicamclip in FCPX straight from the XML file. That's why I was wondering if that was correct, or whether you did it personally in post, but didn't put it in the video. Either way, still amazing that you and Alex found this workaround!
Oh I see. No modifications. Nothing hidden in that video!
Does the multicam clip work on the cut page? I've grown to love the speed editor and would hate to sacrifice the sync bin feature if the multicam clip doesn't work with the multicam buttons on the speed editor on the cut page.
No. The original non-multicam timeline is designed for the cut page. I am pretty sure proper multi cam clips don’t work in the cut page. I could be wrong though; in not a fan of the cut page.
Can you tell me where to get the light you have behind you? I see Allie of them on their channels i can’t find it
It’s from Mömax in Slovenia although I’ve seen similar lamps in many stores.
Thank you so much for the video! Can you please give me info on the green case build at 3:54?
Link in description! Website: geni.us/PocketVideoStudioNY Video; ruclips.net/user/liveBXyAOjwZ4t8?si=1DA5-CZi-EXpJ36e
Thanks bud. @@photojoseph
I wonder how long it will take, until Blackmagic will directly prepare a multicam clip from within the ATEM project... at least I hope so!
It if you record log on cameras won’t it show up in log form on the atem mini pro iso? How do I make it log on the camera but have a “normal” 1080p image on the atem?
On the LUMIX cameras, you can choose for the LCD and/or the HDMI out to have a LUT applied so it looks “normal”, but the recording will be Log. I don’t know what other manufacturers cameras can or can’t do.
Thanks for the video.
Why not align audio click with the ai Align by waveform?
See my pinned comment - I didnt realize that was there until later.
Thank you goat!
I have a nightmare I can’t see multicam on either iPad laptop or monitor I’ve got hdmi out in atem iso plugged into computer or iPad how do I tell it to show me the 3 cameras I have all plugged in
HDMI out goes into a monitor, not computer or iPad. Watch some of the basic training videos.
🎉 Game changer 👏👌 Sending you 10 percent of my next project fee. Thanks 1000 times 🫡
I accept! 😅
Im trying this process but when conforming, not all the clips are done. only half. Any suggestions
Not without troubleshooting it personally. All I can say is do it again and ensure every step is followed precisely. These written instructions might help. photojoseph.com/moment/most-important-atem-video-youll-watch-use-any-camera-original-atem-iso-re-edits/20638
@@photojoseph thank you. ill try it out
I like it. so many steps, but worth it.
It is, but it goes really quickly when you’re not talking about it.
THANK YOU!
Joseph, can you help. We just upgraded from atem mini pro iso to the extreme, right in the middle of our first recording I see the recording indicator flashing, and now we have to keep stopping. We have one of the recommended drives, it's set up correctly, can you tell us why this is happening?
Which drive and did you format it exFAT? I believe that’s the recommended format.
@@photojoseph We are using the LaCie Rugged 1 TB SSD formatted to exfat
I have not tried that drive. All I can really recommend is trying another drive, or at minimum a different cable, although that's not likely the issue, assuming you're using the cable that came with the drive. Actually if the drive _didn't_ come with a cable, and you're using whatever you had laying around, that's likely the issue. Not all USB-C cables are the same; make sure it's a high speed data cable. Let me know what you learn!
@@photojoseph Thanks Joseph, We were using the cable that came with the drive. I ordered a new SSD drive so we will see. Thanks for your help. Love the work/content you do on here, you have saved us so much time and trouble with your videos, they have helped us in creating a great workflow that woulld've taken us forever to put together! Very much appreciated.
Great to hear! Please do let me know what happens when you get the new drive. Presumably you ordered a different make/model?
Does Blackmagic have a product that records and streams in 4K?
Not an all-in-one. They have the Television Studio 4K which is $5,000 but does not include recording. You can add 4K recorders; either one for the Program or as many as you want for each input to record and pass-through. Of course the intention is that you’ll record 4K or 6K in-camera, but if you needed to do it externally, you could. You would however NOT be getting an XML file.
@@photojoseph OK thanks so much!