Basic Multiclip Editing Once your material has been...

Basic Multiclip EditingFinal Cut Pro’s multiclip editing systeminaugurates a whole new style of cuttingdesigned to make it easy to organize andedit footage derived from multiple camerashoots. FCP’s multiclip structuring offersenormous flexibility—powerful automatedmulticlip sequencing for multicamera footagesynchronized to a single master timecodesource during shooting, plus a variety of man-ual synchronizing methods. FCP’s manualmethods allow you to synchronize multiplecamera footage shot without the benefit ofmaster timecode, but you are also free tosynchronize unrelated groups of clips suchas cutaways, still images, and audio intomulticlips.

Once your material has been organized intoa multiclip file structure, it’s possible to loadthat multiclip into the Viewer and edit itinto a sequence in much the same way asyou would a regular clip, but you also havethe option of using FCP’s new MulticlipPlayback editing mode to cut between multi-clip angles on the fly (Figure 9a.1). FCP’smulticlip editing system has a lot of depth;you can add, subtract, or replace angles,resynchronize angles, cut audio and videoseparately, trim edits, and apply effects. Formore information on multiclip editing, see“Working With Multiclips” on page II-241 ofApple’s Final Cut Pro User Manual PDF.

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Figure 9a.1 Final Cut Pro’s Multiclip Playback editing mode brings real-time multiclip editing, a new editingmethodology, and a new look to the interface.

Excerpted from Final Cut Pro 6: Visual QuickPro Guide by Lisa Brenneis. Copyright © 2008. Used with permission of Pearson Education, Inc. and Peachpit Press.

Multiclip editing overviewHere’s a step-by-step overview of a multiclipediting process that describes editingfootage from a multicamera shoot.

◆ Capture footage from multiple cameras. You can identify an angle foreach camera and assign it to the clip’sAngle property as a part of the log andcapture process, or post-capture.

◆ Organize multiple angles into multiclips. Use the Make Multiclipcommand to synchronize clips by theirsource timecode, by an auxiliary time-code, or by In or Out points. If your clipswere recorded using a master timecodegenerator, you can use the Make MulticlipSequence command to organize clipsinto a sequence containing timecode-synchronized multiclips.

◆ Edit multiclips into a sequence. Youcan use FCP’s real-time multiclip modeto switch or cut between angles in realtime, or you can select a multiclip angleand use FCP’s regular editing tools tomake your edit. You can also select a clipin your edited multiclip sequence andswitch from the currently selected angleto a different angle. Fine-tuning multi-clip edit points in the Timeline worksjust the same as trimming a regular edit.

◆ Collapse multiclips to the activeangle. Once you’re satisfied with yourmulticlip edit, you can collapse it so thatin each clip only the selected angle isavailable. You can work with a collapsedmulticlip sequence just as you would anormal FCP sequence. If you changeyour mind and want to make furtherchanges, you can restore any selectedclip’s multiclip angles by using theUncollapse Multiclip(s) command.

◆ Output or export the finished cut.You can export finished video to tape orDVD, or export a file in a project inter-change format.

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Make Multiclip Sequence: Industrial-Strength Multicamera Editing

Final Cut Pro’s Make Multiclip command is a flexible tool for grouping clips that don’t havematching timecode. FCP’s other multiclip creation command, Make Multiclip Sequence, isdesigned for organizing media from multicamera shoots where the cameras were synchro-nized with a master timecode generator. This sync method generates media files with match-ing timecode. The Multiclip Sequence feature uses the files’ angle numbers and timecode tosort and synchronize the clips into multiclips and then arranges these multiclips into asequence, placing each multiclip at the sequence timecode matching its start point. For moreinformation on making multiclip sequences, see page II-241 of Apple’s Final Cut Pro UserManual PDF.


Creating multiclips with theMake Multiclip commandYou create a multiclip by grouping and syn-chronizing multiple clips (called multiclipangles) into a structured unit. You canchoose to synchronize your angle clips bysource timecode, by an auxiliary timecode,or by In or Out points, but you must choosethe same sync method for all angles. Formore information on assigning auxiliarytimecode, see “Changing Your SourceTimecode” in Chapter 4.

To group multiple clip angles into a multiclip:

1. In the Browser’s Angle column, assign anangle ID to each clip you want to includein your multiclip. You can use numbersor letters (Figure 9a.2).

2. In the Browser, select the clips you wantto group into a multiclip, and thenControl-click the selected clips andchoose Make Multiclip from the shortcutmenu (Figure 9a.3).

The Make Multiclip dialog box appears.

3. In the Make Multiclip dialog box, choosea synchronization method from theSynchronize using pop-up menu. You canuse In points, Out points, source Timecode,or auxiliary Timecode (Figure 9a.4).

The Media Alignment diagram adjusts toreflect the clips’ sync relationship usingthe sync method you just selected.

4. Click OK.

The new multiclip appears in the Browser(Figure 9a.5). FCP automatically gener-ates a name for the multiclip composedof the clip name of the currently selectedactive angle plus its angle number, fol-lowed by the multiclip name.

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Figure 9a.2 If you did not assign angle numbers tothe clips when you captured them, you can enterangle numbers in the Browser’s Angle column.

Figure 9a.3 Control-click the selected clips andchoose Make Multiclip from the shortcut menu.

Figure 9a.4 Choose a synchronization method from theSynchronize using pop-up menu. You can use Inpoints, Out points, source Timecode, or auxiliaryTimecode as sync points. You can also uncheck the boxto the left of any clip to exclude it from the multiclip.

Figure 9a.5 The new multiclip appears in theBrowser. You can double-click the multiclip’s Browsericon to open it in the Viewer.


Working with multiclips in the ViewerUse the controls in the Viewer to perform a variety of adjustments to your multiclips.You can adjust multiclip display options; you can even add, delete, rearrange, orresynchronize clip angles. All of the tasksdescribed in this section take place with the multiclip opened in the Viewer.

To open a multiclip in the Viewer:

◆ Double-click the multiclip’s icon in the Browser.

The multiclip opens in the Viewer(Figure 9a.6).

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FCP Protocol: Multiclips

◆ All angles must use the same framerate, image dimensions, and codec.

◆ A multiclip angle can be an audio-plus-video clip, a video-only clip, an audio clip, a merged clip, a still image, a graphic, or another multiclip.

◆ The maximum number of anglesallowed in a multiclip is 128; only the first 16 angles will play back inreal time.

Figure 9a.6 Double-clicking its icon in the Browser opensthe multiclip in the Viewer.

Switch to a different active angle or make an edittrack selection from the Playhead Sync menu

Choose Show/Hide Multiclip Overlays fromthe View menu to toggle overlay display

Blue outline indicatesactive video angle

Multiclip Overlay display

Green outline indicatesactive audio angle

Triangle indicates additional angles available; click to reveal


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FCP Protocol: Multiclip Auto-Naming Convention

When you create a multiclip, FCP applies an auto-generated name. The multiclip’s name is composed of the clip name of the currently selected active angle plus its angle number,followed by the multiclip name (Figure 9a.7). You can change the multiclip’s name in thesame way that you rename other Browser clips (Figure 9a.8), but you can’t change thepart of the multiclip name that identifies the currently selected active angle (Figure 9a.9).If you open a multiclip in the Viewer and then switch to a different active angle, the multi-clip’s name updates to display the active angle you just selected (Figure 9a.10).

Figure 9a.7 A multiclip’s name is composed of theclip name of the currently selected active angle plusits angle number, followed by the multiclip name.

Figure 9a.8 Highlight a multiclip’s name to renameit. Only a portion of the name can be changed.

Figure 9a.9 Final Cut Pro automatically adds thename of the multiclip’s currently active angle to themulticlip name.

Figure 9a.10 Switch to a different active angle, andthe multiclip’s name updates to display the newlyselected active angle.


To change the number of multiclipangles displayed in the Viewer:

◆ From the Viewer’s View pop-up menu,choose one of the following options tochange the display: Multiclip 1-Up,Multiclip 4-Up, Multiclip 9-Up, orMulticlip 16-Up (Figure 9a.11).

To toggle multiclip overlay display inthe Viewer:

◆ From the Viewer’s View pop-up menu,choose Show Multiclip Overlays.

To rearrange multiclip angles in the Viewer:

1. In the Viewer, Command-click the angleyou want to relocate and drag it to theposition where you want it moved(Figure 9a.12).

The other angles shift to make room forthe selected angle at the new position(Figure 9a.13).

2. Release the mouse and drop the angle inits new location.

To delete a multiclip angle:

◆ In the Viewer, Command-click the angleyou want to delete, drag it out of theViewer, and release the mouse button.

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Figure 9a.11 Choose a multiclip display option fromthe Viewer’s View pop-up menu.

Figure 9a.12 Command-click and drag theangle to its new position.

Figure 9a.13 As you drag the clip into position,the other angles shift to make room. Releasethe mouse to drop the angle in its new location.


To add an angle to a multiclip:

1. Drag the clip you want to add to yourmulticlip from the Browser to the anglelocation in the Viewer where you want toadd the clip. Pause until the multiclipedit overlay appears.

2. Drop the clip on Insert New Angle to add the clip to the existing angle (Figure 9a.14).

The new clip is added to your multiclipas a new angle (Figure 9a.15).

To replace an existing angle in a multiclip:

1. Drag the clip you want to substitute foran existing angle from the Browser to themulticlip angle in the Viewer that youwant to replace. Pause until the multiclipedit overlay appears.

2. Drop the clip on Overwrite Angle toreplace the angle you’re positioned overwith the new clip you dragged from the Browser.

The new clip overwrites the angle’s exist-ing clip and assumes its angle number.

To adjust a multiclip angle’s sync:

1. Holding the Control and Shift keys, clickon the angle you want to adjust, and theneither drag left to slip the clip’s sync back-wards in time or drag right to advancethe clip’s sync.

The angle’s video jogs forward or back asyou scrub. An overlay displays the currentoffset value (Figure 9a.16).

2. Release the mouse to set the sync adjust-ment. Check your adjusted sync.

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Figure 9a.14 To add one or more clip anglesto a multiclip, drag the new clip from theBrowser to the Viewer, then drop it on theInsert New Angle edit overlay.

Figure 9a.15 The new clip is added to themulticlip as a new angle.

Figure 9a.16 To adjust an angle’s sync, hold theControl and Shift keys as you drag on the angleyou want to adjust. Drag left to slip the clip’s syncbackwards in time or drag right to advance sync.


Multiclip EditingThis section shows you how to edit a multi-clip into a sequence without the use of real-time editing tools, how to set up the FCPinterface to enable real-time multiclip editing,and how to perform edits using real-timemulticlip playback mode. You’ll learn the dif-ference between switching and cutting, andhow to make video-only or audio-only edits.

To edit a multiclip angle into a sequence:

1. Double-click the multiclip icon in theBrowser to load it into the Viewer.

2. To choose whether to include both videoand audio tracks, the video track only, oraudio tracks only in your edit, do one ofthe following:

◆ Choose View > Multiclip ActiveTracks, and make a track formatselection from the submenu.

◆ Make a track format selection fromthe Viewer’s Sync pop-up menu(Figure 9a.17).

3. To switch to the angle you want to editinto your sequence, do one of the following:

◆ Click on the angle’s image in the Viewer.

◆ Choose the angle from the multiclipangles listed in the Viewer’s Sync pop-up menu.

The angle you selected becomes theactive angle.

4. Use any of the standard editing methodsdescribed earlier in this chapter to set Inand Out points and perform the edit. Theone deviation from standard editing pro-cedures requires you to hold down theOption key as you drag the multiclip anglefrom the Viewer to either the Canvas editoverlay or the Timeline in order to makethe edit (Figure 9a.18).

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Figure 9a.17 Make a track format selection fromthe Viewer’s Sync pop-up menu to choosewhich tracks you want to include in the edit.

Figure 9a.18 Hold the Option key as you drag theactive angle from the Viewer directly to the Timeline,as shown here. You can also Option-drag to theCanvas edit overlay to perform the edit, or use one ofthe standard FCP edit keyboard commands.


To switch the active angle of a multi-clip that’s already in the Timeline:

◆ Control-click the multiclip in the Timeline,then choose a different angle from theclip’s shortcut menu (Figure 9a.19).

To collapse a multiclip:

◆ Select one or more multiclips in theTimeline, then Control-click your selec-tion and choose Collapse Multiclip(s).

The selected multiclips convert to regular sequence clips containing justthe currently selected active angle forthose multiclips.

To expand a multiclip:

◆ Select one or more collapsed multiclipsin the Timeline, then Control-click yourselection and choose UncollapseMulticlip(s).

The selected clips’ hidden angles arerestored and the clips are converted backto multiclips. The currently selectedactive angle for each expanded multiclipis preserved.

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Figure 9a.19 You can swap out the active angle of amulticlip that’s already edited into a sequence byControl-clicking the clip in the Timeline and choosinga different angle from the Active Angle submenu ofthe clip’s shortcut menu.


Real-Time multiclip editingFinal Cut Pro’s Multiclip Playback mode is a distinctly different editing environmenttailored to viewing multiple streams of synchronized video and audio playing backin real time as you switch and cut betweenangles on the fly.

Using real-time multiclip playback mode,however, requires that you flip a few switch-es first to enable real-time multiclip editingin the FCP interface.

✔ Tip

■ A word to everyone who just can’t wait tostart cutting their multicamera footagein real time: you need to start by buildinga sequence containing a rough assemblyof your multiclip footage (or at least insertyour first multiclip take) into a sequencebefore you enable real-time editing. Here’swhy: FCP uses Open gang sync mode tosynchronize playback between the multi-ple video streams in the Viewer and youredited multiclip footage in the Canvasand Timeline. Open gang mode works byautomatically opening the sequence clipat the Timeline playhead position intothe Viewer and synchronizing playback.No sequence clip? No synchronized play-back. It is a bit of a logical disconnect whenyou’re initiating a real-time multiclip editthat you have to start with your multiclipalready in your sequence, but that’s theway it works. Insert your multiclip into thesequence using a non-real-time methodfirst, then complete the rest of the real-time setup.

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FCP Protocol: Switch vs. Cut

Multiclip editing mode introduces twoterms to FCP’s basic vocabulary—switchand cut. FCP’s multiclip editing interfaceis awash with banks of Switch To and CutTo buttons and menu commands. What’sthe difference between switching andcutting?

Switching to an angle selects a differentactive angle without adding an edit point.You can switch a multiclip’s active anglein the Viewer, or you can switch to swapout the active angle of a multiclip shotthat’s already been edited into a sequence.

Cutting to an angle selects a differentactive angle and adds an edit at the pointwhere you cut to the new active angle.


To set up for real-time multiclip editing:

1. Open a sequence containing a multiclipinto the Timeline, then enable theMulticlip Playback, Dynamic video playback quality, and Dynamic framerate options in the Timeline’s RT pop-up menu.

2. Enable the Open gang mode by selectingit from the Playhead sync pop-up menuin the Canvas or Viewer.

The Viewer and Timeline playheads arelocked in sync, and the multiclip at theTimeline playhead position automaticallyopens as a sequence clip in the Viewer(Figure 9a.20).

3. To reconfigure the keyboard layout orbutton bars, do any of the following:

◆ Choose Tools > Button Bars >Multiclip to load preset button barscontaining shortcut buttons for real-time switching and cutting betweenmulticlip angles.

◆ Choose Tools > Keyboard Layout >Multi-camera Editing to load a customkeyboard layout that assigns key com-mands for real-time switching andcutting between multiclip angles toyour keyboard’s number pad. Once youhave loaded it, you can see a list of thiskeyboard layout’s multiclip key com-mands by choosing Tools > KeyboardLayout > Customize, and opening theMulticlip group listing on the rightside of the Keyboard Layout window.

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Figure 9a.20 With Open gang mode enabled, the multiclip at the Timeline playhead positionautomatically opens as a sequence clip in the Viewer.


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