Multi-cam montage. How to shoot and edit videos from multiple cameras

Hey there! Darya here. You’re watching the Movavi Vlog. Did you already see our episode about Ellen
DeGeneres? We talked about how to shoot a video interview
– just like The Ellen DeGeneres Show and her many imitators do. At the end of the last episode, we promised
to make a separate video about the way we edited the interview. In other words, how to synchronize video and
audio feeds from multiple cameras. We’re keeping our promise! This episode of the Movavi Vlog will be useful
for anyone who wants to learn how best to shoot an interview or any other event using
multiple cameras simultaneously and combine them into one video clip. Let’s get started! Most commonly, amateur videos are “one-shot”
videos. Simply put, this means you have one camera,
you press REC, and you shoot without pauses or cut-ins. You can either shoot with a camera that moves,
as you walk back and forth with the camera, or from a tripod. This method of shooting is considered the
easiest, because it’s the simplest way to make a video; you just shoot what you see
with one camera, and there’s minimal editing. But don’t associate the “one-shot” method
just with amateur videos. This trick is often used by professionals,
too. For them, it is no longer just a “simple way”
to make a video. For example, the film “Birdman”, directed
by Alejandro González Iñárritu, was shot with one camera, as if there were no editing
cuts at all. The film runs for about two hours! Emmanuel Lubezki, the cinematographer, won
an Oscar for his work in 2015 – the third of his career! Music video directors also like the one-shot
technique. Remember the video of Keisza’s song Hideaway? Or the British punk rockers Slaves? There’s also the shocking clip This is America
by rapper Childish Gambino. This technique might seem corny to some, but
it’s hardly a thing of the past. Video blogging has brought this approach back
to life. One person with one camera, shooting from
a first-person perspective, creates a powerful presence that subscribers seem to like. “One-shot” filming has obvious disadvantages. You can’t instantly change shots, for example,
from a long shot to a close-up and back. If the camera is mobile, you need to be always
moving around and thinking about focal point and stabilization. In this case, the video could get clunky or
even boring. When it’s more important to show all the
details of what is happening rather than to create a “first-person” effect, multi-camera
filming is better. In this case, you choose the shooting positions
and shot sizes in advance, and then, during the editing, you create a complete picture
of what’s going on. If we are talking about a staged shooting,
then usually it’s talk shows, interviews, and music videos that are recorded with multiple
cameras. In these instances, all or most of the cameras
are usually fixed on tripods and take still pictures of the same size from pre-set points. For example, close-up cameras for the main
characters in a broadcast, plus one or two cameras for a long shot. Sometimes a mobile camera is added for another
long shot, but this is not common for television. When shooting a video story – that is, non-stop
events such as travel, festivals, concerts or performances – there is usually a group
of two or three operators with moving cameras. They agree in advance who is shooting what. For example, camera person 1 is responsible
for close-ups of the artists on the stage and the characters in the event. Operator 2 can handle the long shots. Operator 3 is also in charge of a wide shot,
but from a different perspective. This enables the editor to come up with a
comprehensive video report from the footage. Viewers will see everything in detail and
be easily able to understand what and how things happened that day. *samples In this instance, we’re shooting an interview
in the Ellen DeGeneres style. It’s staged shooting. We have the set ready in advance, we have
positioned the characters, and we’ve placed our cameras, having picked a shooting perspective
and frame size for each. We have three cameras on deck. Each is mounted on a tripod. A close-up for the host. A close-up for the guest. And one long shot. We record the sound with two lavaliers, each
one connected to the corresponding camera with a close-up. During the editing, I will mix the two audio
tracks together. Be sure to check the volume setting for the
mics on your cameras to ensure that the people can be heard properly and without distortion. Give some thought in advance, that is, at
the shooting stage, to how you’re going to synchronize the tracks from the different
cameras. You can hardly press the recording button
simultaneously on all three cameras. You may not even attempt it. The sync process takes place in the editing
stage. Well, now. We’ve switched on all three cameras and
recording is simultaneous. We need a starting point, a moment that will
indicate the beginning and help us sync the three different shots. The trick here is to use the sound, since
it’s being recorded for three different audio tracks from the built-in mic on the
long-shot camera and the lavaliers on the other two cameras. I’m holding a clapperboard. It turns out, it’s not just a souvenir,
but a very useful item. It’ll come in handy at this very moment!
*clap* With this clap, I’ve just defined the initial
point. When I start editing, I’ll easily be able
to find this clap on each of the three audio tracks, enabling me to synchronize the images
from all three cameras. If you don’t have a clapperboard handy,
just clap your hands loudly. There is no need for a professional video
editing program. You can do the multi-cam editing even using
simple software like Movavi Video Editor. I’ll start by importing all the footage
I’ve shot into the program. Now on the timeline, I have the three video
clips from the three cameras. Let’s arrange them one on top of the other. I’ll leave the long shot clip at the bottom,
and place the two close-up clips on top of it. Here, you’ll need to choose how the upper
clips will be applied to the lowest one. Double-click the upper clip and select COVER
in the preview window. Then click Apply. Let’s do the same with the other close-up
clip. Right now, all the clips are stacked evenly
but aren’t synchronized. You do remember that the cameras started recording
not quite right away, right? Both the video and the audio from different
cameras sometimes run ahead, and sometimes lag. When I first tried multi-camera editing, I
struggled to sync the footage from different cameras using lip movements. That was a huge fail. Don’t make the same mistake I did. Instead, take a close look at the audio clips. Each of the three has an obvious standalone
leap. This refers to the starting point we marked
with the clap sound when shooting. Now you know that waveforms in Movavi Video
Editor are there for a reason. In our case, they are super helpful for synchronizing. I simply align the clips with this single
peak. And it’s done! Now I can be sure all the rest is perfectly
in sync. Next comes an easy part. I continue editing, choosing one of the three
shots I have for a particular moment. It’s important not to move the clips by
accident, though. This particular interview starts with a presenter’s
question. I’ll go for a close-up. Since the corresponding clip is already there
at the very top, I don’t have to do anything with it. Almost every video editing program follows
the same video track logic – if there are multiple video tracks on the timeline, you
see the clips on the top of a stack in the frame. In our case, all the clips are non-transparent
footage – this means that, at any particular moment, I can only see the clip on the very
top, no matter what’s underneath. Next, I need a guest to appear in the video. The close-up with the guest is on the second
track. How do I make it visible? I can only see the first-camera footage right
now. Well, I might have a clue already. I’ll use the scissors tool and make two
cuts on the upper clip and then I’ll delete this piece. As you can see, I now have the second camera
in the preview window. Just what I wanted. I can just drag the edges of the two upper
clips to define exactly when it switches from the first camera to the second one. All right! But what about the long shot footage, you
may ask? Well, it works the same way. When I decide to go for a wide shot, I use
the scissors tool again and make blank spaces on the two upper clips. This is how it looks on the timeline. Let’s see what I have in the preview window. It starts with the presenter’s close-up;
then the guest’s close-up; then both of them in the wide shot; the presenter again;
the guest again. Most frequently I’m going to use close-ups. We can treat them as a standard element when
it comes to interviews. We get to see the host whenever he or she
asks a question and the guest whenever he or she responds. In general, wide shots don’t last very long
and are used to avoid the monotony of switching from guest to presenter and back over and
over again. It’s all done with the picture. Let’s get back to the sound again. Let’s adjust the balance first. Make sure every character in the interview
can be heard well and the volume level remains unchanged. Select the clip, click Audio properties and
modify the volume level if necessary. There’s even an easier way: you can just
drag this line on the audio clip. Now all three tracks are audible. It’s not good. We only need the sound from the presenter’s
camera when he asks a question. Whenever he’s silent, we don’t need that
sound source. Otherwise, when one of the interview characters
speaks, we’ll hear background noise and random sounds from the other two mics. Here’s what I’m going to do. I’m going to select all the clips on the
timeline, right click on them, and select “detach audio”. This will let me edit the audio clips separately
from the video. I’m going to do the same thing with another
track. The presenter’s audio track is fine. Whenever he’s silent, there’s no sound. But the sound from the second camera is always
audible. Even when the character isn’t saying a word. I’ll handle this with the same “scissors”
tool we just used for the video track. Here’s a tip. I want to talk you out of editing back-to-back. Instead, I’d recommend you edit with a bit
of overlapping. When you record sound from multiple microphones
and cameras, the level of background sound may vary. It can be noticeable if you edit back-to-back. That’s why I take the overlapping approach,
to be on the safe side. If it doesn’t help either way, you can use
a smooth fading in and fading out on the audio clip. To do this, just right click on the white
line on the clip. That’s the level of your clip volume. Then choose “Add volume point”. You’ll need at least 4 points like these
to create “hills” at the start and the end of the clip. You can add more points to create even smoother
fading in and fading out of the volume manually. It’s a very useful tool if you care about
precision when dealing with the sound on your videos. Now all that’s left to edit is the main
track. The sound from the built-in mic on the long-shot
camera is still audible throughout the interview. It can be removed completely or set to zero
volume. But I’d rather keep it. Just a very little, so there is a permanent
hint of background noise, with no leaps or cuts. By the way, if you use background music for
your interview, you can upload ready-to-use tracks from the built in collection in Movavi
video editor. Or you can upload your own choice of music. Keep in mind, however, that you have to lower
the volume of your background music so that the people can still be heard. Now it’s time we see how everything has
turned out! Let’s take a look. Thanks for watching this episode! Your first multi-cam shooting may not go smoothly,
but don’t give up on it! Practice truly matters here. Use our tips and you’ll soon learn how to
shoot and edit videos with multiple cams in your own unique style. It might be anything from interviews and talk
shows on YouTube to music videos, video reports and stories, and vlogs. Mind you, a subscription to the Movavi vlog
and the notification bell will guarantee you won’t miss our next super-helpful episode. In this video I’ve talked a lot about shots. Here is a detailed episode on the types of
shots and on montage by size. Check it out! I’ll see you in a week on the Movavi Vlog! Stay positive! Take care!

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