Committing Multicam Sequences

UPDATED

Documentary editing uses multicam sequences constantly to juggle multiple camera angles on interviews, observational scenes, and live events. Multicam groups are a great edit-room tool, but they do not translate cleanly to DaVinci Resolve for conform.

Before turnover, every multicam in the timeline must be committed (Avid), flattened (Premiere), broken apart (FCP), or flattened (Resolve). This locks the selected angle and removes the multicam container.

Why Commit Multicams?

  • The conform pulls from the final chosen angle — committing locks it in
  • Resolve does not natively understand Avid grouped clips or Premiere multicam sequences
  • Effects, color adjustments, and audio routing need to be attached to the flattened clip, not the multicam container
  • Uncommitted multicams often show the wrong angle or go offline entirely in Resolve

Always keep an uncommitted backup of your sequence before committing. If the edit opens back up, you will want the multicam groups intact for any changes.

Avid Media Composer

Step 1: Duplicate the Sequence

Right-click the sequence in the bin → Duplicate. Rename clearly, e.g. SHOW_EP101_v12_LOCKED_COMMIT.

Step 2: Commit Multicam Edits

  1. In the timeline, press Cmd+A (Mac) or Ctrl+A (Win) to select all
  2. Right-click anywhere in the selection → Commit Multicam Edits

Step 3: Verify

  • Scroll the entire timeline — no clips should still show the multicam grouped-clip icon
  • Effects, transitions, and speed changes should all be intact
  • Audio routing should match the original

Step 4: Export

Export following the standard Exporting for Resolve instructions.

Adobe Premiere Pro

Step 1: Duplicate the Sequence

In the Project panel, right-click the sequence → Duplicate. Rename clearly.

Step 2: Flatten Multicam Clips

  1. Click in the timeline and press Cmd+A (Mac) or Ctrl+A (Win) to select all clips
  2. Right-click on any multicam clip → Multi-Camera → Flatten

Step 3: Verify

  • No clips should still display the multicam icon
  • All effects, transitions, and audio assignments should be intact

Step 4: Export

Proceed with export.

Final Cut Pro

Step 1: Duplicate the Project

Right-click the project in the Browser → Duplicate Project (or Cmd+D).

Step 2: Break Apart Multicam Clips

  1. Select all clips in the timeline (Cmd+A)
  2. Right-click → Break Apart Clip Items
  3. This replaces multicam clips with the flattened individual angles

Note: FCP also uses “Compound Clips” heavily. These should also be broken apart before turnover unless there is a specific reason to keep them nested.

Step 3: Verify and Export

Check the timeline, then export FCPXML.

DaVinci Resolve (for reference)

If the locked edit was done in Resolve, multicam clips should be flattened before sending out — though in most workflows, Resolve is the finishing destination, not the source.

Flatten Multicam in Resolve

  1. Right-click the multicam clip in the timeline
  2. Select Flatten Multicam Clip
  3. The clip is replaced with the selected angle

Complex Scenarios

Nested Sequences / Compound Clips

These are a different beast from multicams but cause similar conform problems. Rules of thumb:

  • Avid nested timelines — generally translate fine via AAF
  • Premiere nested sequences — consider flattening to avoid depth issues in Resolve
  • FCP compound clips — break apart unless the grouping is intentional
  • Resolve compound clips — decompose before export

Audio-Follows-Video Changes

When committing a multicam, make sure audio follows the video angle you intended. A common issue: the picture commits to Cam-A but the audio commits to Cam-B. Always spot-check audio after committing.

Effects on the Multicam Container

If you applied an effect (color correction, scale, reposition) to the multicam clip itself rather than the individual angles, that effect may or may not survive the commit. Verify after flattening.

Verification Checklist

  • Uncommitted backup sequence saved
  • All multicam clips committed / flattened
  • Visual spot-check: correct angles throughout
  • Audio spot-check: correct audio channel selected
  • Effects and transitions still attached
  • Nested sequences evaluated (flatten if needed)