📺 YouTube Optimization

Optimize your YouTube channel with TubeBuddy (we swear by it)

🔗 Affiliate Link Tracking

Using affiliate links is key to making an income from online video reviews. We use Genius Links, which allow options like choice pages and automatic redirection to the viewers local Amazon store. Learn more and sign up here.

🚨 My VPN

I've switched to NordVPN and it's better! Get 72% off 2-year plans with this link: https://go.nordvpn.net/SH89g

00:00 The title is not clickbait.
00:02 If you use the ATEM Mini Pro ISO or ATEM Mini Extreme ISO, then this is the most important
00:09 video you'll ever watch about your ATEM.
00:11 Let me set the stage.
00:12 You already know that with the ISO Model ATEMs, when you record your live show to an SSD,
00:18 you get not only the program recording, but you also get a DaVinci Resolve project file
00:22 and the ISO streams — or isolated video streams — of each camera input, meaning
00:26 you can re-edit your live show to upload later.
00:29 You probably also know that if you're using Blackmagic cameras, such as the Blackmagic
00:33 Pocket Cinema cameras, you can also record a 4K or 6K RAW file in-camera, which then
00:38 easily matches back to the files recorded by the ATEM, replacing the 1080p MP4 files
00:44 with full resolution RAW files.
00:46 It's an amazing workflow, but you have to have all Blackmagic cameras for it to work.
00:51 Or at least, you used to.
00:54 We have figured out how to take the camera originals from any camera and match them back
01:00 to the ATEM-generated Resolve project file.
01:03 If you want to shoot 4K or 6K, record internally or externally, shoot log or profiled, record
01:09 to HEVC or ProRes or RAW — whatever your camera is capable of, you can now match those
01:14 camera original files back to your live show edit.
01:18 Now, I said “we” because Alex Pettitt, a fellow YouTuber, figured out the first critical part
01:23 of this process.
01:24 If you've ever opened an ATEM Mini Pro ISO Resolve project file before, you know that
01:29 while you do have all the cuts from all the camera angles on your timeline, the timeline
01:33 is not a traditional multicam project.
01:36 While it's easy enough to replace a camera angle or change the timing and generally re-edit
01:40 your project, for those of us who work with multicam often, having a true multicam file
01:44 is much better.
01:46 So Alex figured out how to do that.
01:47 And this was no small feat!
01:49 He figured out how to replace the flat clips on the timeline with true multicam clips.
01:55 And when I watched his video on this, I realized that I could probably take this to the next
01:59 level and actually use that multicam project to swap out the 1080p ATEM files for full
02:05 resolution camera originals.
02:07 And it worked.
02:08 So I'm going to take you through Alex's process because it's a critical part of this workflow,
02:12 but I'm going to go through it quickly and not explain all the nuances.
02:15 I'll link to Alex's video at the end of this one, and I want you to watch his video to
02:19 fully understand the first part of this process, but I am going to show you how to do it.
02:24 Then I'll pick up where he left off and swap out the camera originals.
02:27 I'm working with a super simple test project.
02:30 I'm using the ATEM Mini Pro ISO and three cameras.
02:33 The three cameras are pointed at a timecode slate, but timecode is not needed for this
02:37 process.
02:38 I did that just for this demo, just to show that the matching works and to show some important
02:42 nuances to this workflow.
02:44 Here's the SSD attached to the ATEM and that's the setup.
02:47 Nothing out of the ordinary.
02:49 I'll start recording in the ATEM and then start recording in each camera.
02:53 The order you start recording in does not matter at all.
02:56 And even if you stopped and started recording multiple times in the cameras, this would
03:00 still totally work.
03:02 Because we're going to be manually syncing these clips, and don't worry, it's super easy,
03:05 you'll want something at the beginning of the shot to easily sync to.
03:08 That can be visual or audible.
03:10 You can clap your hands or slam a book or what I use is this little dog training clicker.
03:15 This is a neat tip I picked up from a professional voiceover artist as an easy way to mark a
03:19 very clear, very visible audio peak on the waveform.
03:22 I'll click it a couple times in front of each camera to ensure that each camera has a very
03:26 clear click on its audio track.
03:29 Obviously unnecessary in this situation where the cameras are all next to each other.
03:32 But if you had cameras spread around multiple locations, you're going to want to do this
03:35 at each camera.
03:36 Now if you forget to or simply can't do this, this process will still work.
03:40 It'll just be a bit harder to synchronize your clips.
03:43 Alright, that's it.
03:44 Record in the ATEM, record in each camera, and ensure you have some kind of clear cue
03:48 to sync to later.
03:49 Now just switch your show like normal.
03:51 I'll just jump between cameras one and two and three, add some dissolves in there and
03:56 yeah, alright, that's enough.
03:58 After the show, copy the ATEM files and the camera original files to your computer, and
04:02 we're ready to go.
04:04 Here's the folder of files copied off of the ATEM.
04:06 There's my audio source files, the Resolve project file, the program, and then the four
04:11 ISO video files.
04:12 Keep in mind, it will record all four inputs even if you're not using them.
04:15 Camera 4 here is just black.
04:17 To start, we just open up this project file.
04:19 It's going to automatically create a new project inside of Resolve.
04:22 And important to know, it is going to use the project settings that are set as your
04:27 default, which means the resolution may or may not be what you ultimately want.
04:31 We may have to check that later on.
04:32 We'll get to that.
04:34 Here's my project in Resolve.
04:35 There's the timeline and you can see here all of my camera angle switches are in place.
04:40 Under the ISO folder, we have cameras one, two, and three.
04:42 So our first step is to take all three of those and color code them.
04:45 I'll start with camera one.
04:47 I'm going to set the clip color to orange.
04:50 Camera two; we'll set the clip color to apricot.
04:54 And camera three; we're going to set the clip color to yellow.
04:58 You'll notice I'm just doing this in order, which will make it easier to find these later.
05:02 Then I'll take all three of those clips, right-click on them and choose “Create New Multicam
05:06 Clip Using Selected Clips…”.
05:07 Name it whatever you like; I'll just call it “MatchBack-03 Multicam”.
05:11 Make sure your frame rate is right; it should be by default.
05:14 Angle sync should be set to “Timecode” and your angle name should be set to “Metadata
05:18 - Camera”.
05:19 Click Create and it creates the new multicam.
05:22 Now this multicam clip needs to be in its own bin.
05:25 This is a very important part of this process.
05:27 So I'm going to go ahead up here and make a new bin.
05:29 We'll call it “Multicam bin”.
05:32 And then I'm going to take that multicam project and drop it in there.
05:37 Now I want to open this; I'm actually first going to enable the tab view so I can have
05:41 multiple tabs open at once, and then right-click and open that multicam.
05:45 That allows me to see what the multicam looks like and verify that all three of those tracks
05:49 are in fact on there.
05:51 Now let's go back to the master folder where our timeline is and start swapping out the
05:55 flat clips for the multicam.
05:57 Go to the timeline menu, choose “Select Clips With Color”, and the first color is
06:02 Orange for camera one.
06:03 So we'll select that.
06:05 Then go to the timeline, right-click on one of those selected clips and disable “Conform
06:09 Lock Enabled”.
06:10 Once you do that, you'll see this little red marker that indicates that conform lock has
06:14 been disabled.
06:16 Then we go back to our multicam bin and look at our multicam clip and ensure that the “Switch
06:21 Multicam Video Angle” is set to the first camera; the one that we're going to swap out.
06:24 In this case; Camera 1.
06:25 You can also verify the audio angle is at Camera 1, and we're actually going to leave
06:28 it there for the entire duration.
06:31 Then we go back to the timeline, right-click and choose “Timelines”, “Reconform From
06:35 Bins…”.
06:36 Go to “Attempt to reconform” and make sure it's set to “Selected clips”, enable
06:41 “Set clips to conform lock enabled after conform”; that just locks everything again.
06:45 And then under “Choose Conform Bins”, we want to disable everything except for the
06:50 Multicam bin.
06:51 On the right side conform options need to be set to timecode and source timecode.
06:55 Everything else is off.
06:56 Click OK.
06:57 And that has just swapped out all of camera 1 angles with the multicam clips set to camera
07:02 1.
07:03 Now we just repeat the process.
07:05 Timeline, select clips with color, Apricot, right-click on one of those selected clips
07:11 and disable conform lock.
07:13 Go to the multicam bin, select that multicam project and change the video angle to camera
07:18 2.
07:20 Go back to the timeline, right-click, reconform from bins.
07:24 We can leave everything as it just was.
07:27 Click OK.
07:28 And that's camera 2 done.
07:29 One more time.
07:31 Timeline, select clips with color, Yellow, right-click, disable conform lock.
07:37 Back to the multicam bin, select that, switch the video angle to camera 3, back to the timeline,
07:44 timelines, reconform, and OK.
07:48 And now if we open our multicam view, you can see as I scrub through here, that we are
07:53 looking at an actual multicam timeline with all of our clips in place.
07:58 This is fantastic.
07:59 So this is where Alex's video leaves off.
08:01 And again, do watch his to get a full understanding of everything that we just did and why we
08:06 did it the way that we did.
08:07 Now we go to the next step; replacing these 1080p files with our full resolution log files.
08:13 And we do need to make sure that our project file is set correctly.
08:16 And if you didn't do this before, it's OK.
08:18 You can change the project settings at any time and everything will line up perfectly.
08:22 Now, if we look at my timeline settings here and go to the Inspector, under File, you'll
08:27 see that it is a 25p frame rate and then it is at a 3840 by 2160 resolution, which you
08:32 might think, “well, that's strange because this was created at 1080p”.
08:36 Correct – but when you import the project file into Resolve, it will adapt whatever
08:40 your default project settings are.
08:42 So at this point, that setting needs to be what you are actually bringing in your originals
08:46 as.
08:47 In my case, it's 3840 by 2160.
08:49 And to verify this or to change it if needed, go to the Project Settings and make sure that
08:54 under the Master Settings, your Timeline Format is set to the resolution that you want.
08:58 So again, in my case, Ultra HD at 25p.
09:02 Because that setting is like that, the multicam project is also already 3840 by 2160, even
09:08 though it was created from 1080p clips.
09:11 And if you realize at this point that you forgot to change the settings before, you
09:14 can update the project settings now and it will update the multicam clip and the timeline.
09:20 So now let's go back to our multicam clip and open it up again.
09:25 Now what we need to do is basically replace these three 1080p clips with the 4k originals.
09:29 Now, there's a few ways you can go about doing this, but I think this is the safest way.
09:33 The first thing I want to do is create a composite of each one of these.
09:36 So select the first clip, camera one, go to the clip menu and choose new compound clip.
09:42 I'm just going to call it “cam 1 comp”.
09:45 Okay, do the same thing for camera two, select it, clip new compound clip, “cam 2 comp”,
09:52 and then again for the third one, select clip, compound clip, “cam 3 comp”.
09:58 Now each one of these comps can be opened as its own timeline.
10:01 So starting with the first one, right-click, open in timeline, we now have camera one comp,
10:06 and now it's time to import the originals to line up with the 1080p footage.
10:10 So you can do that however you like, I will simply drag and drop my camera originals into
10:15 Resolve.
10:16 And now I need to see which one's camera one… it is that one there… drag and drop that
10:21 onto the timeline.
10:23 And now you can see where the clicking becomes extremely handy.
10:27 Wait for the waveforms to draw and I'll drag this bigger to make it a little easier to
10:30 see.
10:31 And there; those sharp little spikes we can see are the clicks from the clicker.
10:35 We can see the same ones down here.
10:36 So now it's a case of just lining them up.
10:39 So it looks like right about there is probably it.
10:41 Once you get close, of course you want to zoom in and make it precise.
10:45 Select that top clip and just nudge it along until things line up.
10:49 Now because of how audio and video is recorded, we're not going to necessarily be able to
10:53 align these absolutely precisely.
10:55 So you're going to want to choose whichever frame is closest.
10:58 Now what you can do is take this top video clip and head over to your video settings
11:02 and set this to difference.
11:05 And then you can compare the top clip to the bottom clip and see which frame lines up more
11:09 closely.
11:10 So if I look at the audio waveform, I could be either here or here, either one of those
11:14 would be close enough to accurate.
11:17 But if we look at the timecode up here, you'll see that one does actually line up and the
11:21 other one does not.
11:22 So we can see there that this is correct, that one is not.
11:25 Now again, it is a one frame difference, it doesn't really matter.
11:27 But at this point, if you're doing this without timecode, then you just want to get it as
11:31 close as possible.
11:32 Choose the point where the two audio waveform peaks are going to be as close as possible.
11:36 And this is why I say this is easier to do if you have that really good sharp audible
11:40 click as opposed to just something visual like a mouth moving.
11:44 This is easier to align to.
11:45 But again, even if it's off by a frame, honestly, it's not really going to matter.
11:49 All right, this clip is in place.
11:51 Let's make sure we disable the difference mode.
11:53 And I'm going to leave these in log just so that it's easier to see that this has actually
11:56 worked at the end.
11:58 You can see in here that the recorded clip in camera starts later than the recorded clip
12:02 in the ATEM.
12:03 And that's expected, right?
12:04 That's what we'd expect to see because we started in the ATEM first.
12:07 Now let's just continue this process.
12:09 Back to the multicam, select the camera 2 comp, open that in timeline, there's camera
12:14 2, drag and drop that on, wait for the waveforms to draw.
12:18 And we'll just slide that roughly into place, and then zoom in closer.
12:23 And again, nudge that clip.
12:25 Now make sure that you are nudging the top clip, the new one that you brought in, not
12:29 the original one underneath, or you're going to end up messing up the timing.
12:32 Now if you do accidentally move it, it started at the beginning of the clip, so you can just
12:36 drag it back.
12:37 But you do want to make sure that that doesn't move.
12:40 Now repeat that process for the rest of your camera angles.
12:42 And then you can go back to the multicam, make sure that those all have the new footage,
12:46 and then go back to the original timeline project.
12:49 And there we have our full 4k log files of the three different multicam angles.
12:55 That is fantastic.
12:57 That's the process.
12:58 Keep in mind, you could also use this to bring in high quality audio recorded in a 32-bit
13:03 float recorder and synced to one of the camera angles.
13:06 This workflow gives you the ultimate flexibility.
13:08 So what do you think?
13:09 Pretty great, right?
13:11 Do you agree with me that this is the most important video on the ATEM you've seen?
13:15 This opens up a whole new world for a lot of people.
13:18 Using Blackmagic cameras obviously makes this process easier, but the reality is not everyone's
13:23 using their cameras.
13:24 And now it doesn't matter.
13:26 Make sure you watch Alex's video next.
13:28 And if you want to keep learning about the ATEM, here's a big playlist of all of my ATEM
13:32 videos.
13:33 Don't forget to subscribe for more of these.
13:34 Thanks for watching and see you in the next video. 

The title is not clickbait. If you use the ATEM Mini Pro ISO or ATEM Mini Extreme ISO, then this is the most important video you'll ever watch about your ATEM. Let me set the stage. You already know that with the ISO Model ATEMs, when you record your live show to an SSD, you get not only the program recording, but you also get a DaVinci Resolve project file and the ISO streams — or isolated video streams — of each camera input, meaning you can re-edit your live show to upload later. You probably also know that if you're using Blackmagic cameras, such as the Blackmagic Pocket Cinema cameras, you can also record a 4K or 6K RAW file in-camera, which then easily matches back to the files recorded by the ATEM, replacing the 1080p MP4 files with full resolution RAW files. It's an amazing workflow, but you have to have all Blackmagic cameras for it to work. Or at least, you used to. We have figured out how to take the camera originals from any camera and match them back to the ATEM-generated Resolve project file. If you want to shoot 4K or 6K, record internally or externally, shoot log or profiled, record to HEVC or ProRes or RAW — whatever your camera is capable of, you can now match those camera original files back to your live show edit. Now, I said “we” because Alex Pettitt, a fellow YouTuber, figured out the first critical part of this process. If you've ever opened an ATEM Mini Pro ISO Resolve project file before, you know that while you do have all the cuts from all the camera angles on your timeline, the timeline is not a traditional multicam project. While it's easy enough to replace a camera angle or change the timing and generally re-edit your project, for those of us who work with multicam often, having a true multicam file is much better. So Alex figured out how to do that. And this was no small feat! He figured out how to replace the flat clips on the timeline with true multicam clips. And when I watched his video on this, I realized that I could probably take this to the next level and actually use that multicam project to swap out the 1080p ATEM files for full resolution camera originals. And it worked. So I'm going to take you through Alex's process because it's a critical part of this workflow, but I'm going to go through it quickly and not explain all the nuances. I'll link to Alex's video at the end of this one, and I want you to watch his video to fully understand the first part of this process, but I am going to show you how to do it. Then I'll pick up where he left off and swap out the camera originals. I'm working with a super simple test project. I'm using the ATEM Mini Pro ISO and three cameras. The three cameras are pointed at a timecode slate, but timecode is not needed for this process. I did that just for this demo, just to show that the matching works and to show some important nuances to this workflow. Here's the SSD attached to the ATEM and that's the setup. Nothing out of the ordinary. I'll start recording in the ATEM and then start recording in each camera. The order you start recording in does not matter at all. And even if you stopped and started recording multiple times in the cameras, this would still totally work. Because we're going to be manually syncing these clips, and don't worry, it's super easy, you'll want something at the beginning of the shot to easily sync to. That can be visual or audible. You can clap your hands or slam a book or what I use is this little dog training clicker. This is a neat tip I picked up from a professional voiceover artist as an easy way to mark a very clear, very visible audio peak on the waveform. I'll click it a couple times in front of each camera to ensure that each camera has a very clear click on its audio track. Obviously unnecessary in this situation where the cameras are all next to each other. But if you had cameras spread around multiple locations, you're going to want to do this at each camera. Now if you forget to or simply can't do this, this process will still work. It'll just be a bit harder to synchronize your clips. Alright, that's it. Record in the ATEM, record in each camera, and ensure you have some kind of clear cue to sync to later. Now just switch your show like normal. I'll just jump between cameras one and two and three, add some dissolves in there and yeah, alright, that's enough. After the show, copy the ATEM files and the camera original files to your computer, and we're ready to go. Here's the folder of files copied off of the ATEM. There's my audio source files, the Resolve project file, the program, and then the four ISO video files. Keep in mind, it will record all four inputs even if you're not using them. Camera 4 here is just black. To start, we just open up this project file. It's going to automatically create a new project inside of Resolve. And important to know, it is going to use the project settings that are set as your default, which means the resolution may or may not be what you ultimately want. We may have to check that later on. We'll get to that. Here's my project in Resolve. There's the timeline and you can see here all of my camera angle switches are in place. Under the ISO folder, we have cameras one, two, and three. So our first step is to take all three of those and color code them. I'll start with camera one. I'm going to set the clip color to orange. Camera two; we'll set the clip color to apricot. And camera three; we're going to set the clip color to yellow. You'll notice I'm just doing this in order, which will make it easier to find these later. Then I'll take all three of those clips, right-click on them and choose “Create New Multicam Clip Using Selected Clips…”. Name it whatever you like; I'll just call it “MatchBack-03 Multicam”. Make sure your frame rate is right; it should be by default. Angle sync should be set to “Timecode” and your angle name should be set to “Metadata - Camera”. Click Create and it creates the new multicam. Now this multicam clip needs to be in its own bin. This is a very important part of this process. So I'm going to go ahead up here and make a new bin. We'll call it “Multicam bin”. And then I'm going to take that multicam project and drop it in there. Now I want to open this; I'm actually first going to enable the tab view so I can have multiple tabs open at once, and then right-click and open that multicam. That allows me to see what the multicam looks like and verify that all three of those tracks are in fact on there. Now let's go back to the master folder where our timeline is and start swapping out the flat clips for the multicam. Go to the timeline menu, choose “Select Clips With Color”, and the first color is Orange for camera one. So we'll select that. Then go to the timeline, right-click on one of those selected clips and disable “Conform Lock Enabled”. Once you do that, you'll see this little red marker that indicates that conform lock has been disabled. Then we go back to our multicam bin and look at our multicam clip and ensure that the “Switch Multicam Video Angle” is set to the first camera; the one that we're going to swap out. In this case; Camera 1. You can also verify the audio angle is at Camera 1, and we're actually going to leave it there for the entire duration. Then we go back to the timeline, right-click and choose “Timelines”, “Reconform From Bins…”. Go to “Attempt to reconform” and make sure it's set to “Selected clips”, enable “Set clips to conform lock enabled after conform”; that just locks everything again. And then under “Choose Conform Bins”, we want to disable everything except for the Multicam bin. On the right side conform options need to be set to timecode and source timecode. Everything else is off. Click OK. And that has just swapped out all of camera 1 angles with the multicam clips set to camera 1. Now we just repeat the process. Timeline, select clips with color, Apricot, right-click on one of those selected clips and disable conform lock. Go to the multicam bin, select that multicam project and change the video angle to camera 2. Go back to the timeline, right-click, reconform from bins. We can leave everything as it just was. Click OK. And that's camera 2 done. One more time. Timeline, select clips with color, Yellow, right-click, disable conform lock. Back to the multicam bin, select that, switch the video angle to camera 3, back to the timeline, timelines, reconform, and OK. And now if we open our multicam view, you can see as I scrub through here, that we are looking at an actual multicam timeline with all of our clips in place. This is fantastic. So this is where Alex's video leaves off. And again, do watch his to get a full understanding of everything that we just did and why we did it the way that we did. Now we go to the next step; replacing these 1080p files with our full resolution log files. And we do need to make sure that our project file is set correctly. And if you didn't do this before, it's OK. You can change the project settings at any time and everything will line up perfectly. Now, if we look at my timeline settings here and go to the Inspector, under File, you'll see that it is a 25p frame rate and then it is at a 3840 by 2160 resolution, which you might think, “well, that's strange because this was created at 1080p”. Correct – but when you import the project file into Resolve, it will adapt whatever your default project settings are. So at this point, that setting needs to be what you are actually bringing in your originals as. In my case, it's 3840 by 2160. And to verify this or to change it if needed, go to the Project Settings and make sure that under the Master Settings, your Timeline Format is set to the resolution that you want. So again, in my case, Ultra HD at 25p. Because that setting is like that, the multicam project is also already 3840 by 2160, even though it was created from 1080p clips. And if you realize at this point that you forgot to change the settings before, you can update the project settings now and it will update the multicam clip and the timeline. So now let's go back to our multicam clip and open it up again. Now what we need to do is basically replace these three 1080p clips with the 4k originals. Now, there's a few ways you can go about doing this, but I think this is the safest way. The first thing I want to do is create a composite of each one of these. So select the first clip, camera one, go to the clip menu and choose new compound clip. I'm just going to call it “cam 1 comp”. Okay, do the same thing for camera two, select it, clip new compound clip, “cam 2 comp”, and then again for the third one, select clip, compound clip, “cam 3 comp”. Now each one of these comps can be opened as its own timeline. So starting with the first one, right-click, open in timeline, we now have camera one comp, and now it's time to import the originals to line up with the 1080p footage. So you can do that however you like, I will simply drag and drop my camera originals into Resolve. And now I need to see which one's camera one… it is that one there… drag and drop that onto the timeline. And now you can see where the clicking becomes extremely handy. Wait for the waveforms to draw and I'll drag this bigger to make it a little easier to see. And there; those sharp little spikes we can see are the clicks from the clicker. We can see the same ones down here. So now it's a case of just lining them up. So it looks like right about there is probably it. Once you get close, of course you want to zoom in and make it precise. Select that top clip and just nudge it along until things line up. Now because of how audio and video is recorded, we're not going to necessarily be able to align these absolutely precisely. So you're going to want to choose whichever frame is closest. Now what you can do is take this top video clip and head over to your video settings and set this to difference. And then you can compare the top clip to the bottom clip and see which frame lines up more closely. So if I look at the audio waveform, I could be either here or here, either one of those would be close enough to accurate. But if we look at the timecode up here, you'll see that one does actually line up and the other one does not. So we can see there that this is correct, that one is not. Now again, it is a one frame difference, it doesn't really matter. But at this point, if you're doing this without timecode, then you just want to get it as close as possible. Choose the point where the two audio waveform peaks are going to be as close as possible. And this is why I say this is easier to do if you have that really good sharp audible click as opposed to just something visual like a mouth moving. This is easier to align to. But again, even if it's off by a frame, honestly, it's not really going to matter. All right, this clip is in place. Let's make sure we disable the difference mode. And I'm going to leave these in log just so that it's easier to see that this has actually worked at the end. You can see in here that the recorded clip in camera starts later than the recorded clip in the ATEM. And that's expected, right? That's what we'd expect to see because we started in the ATEM first. Now let's just continue this process. Back to the multicam, select the camera 2 comp, open that in timeline, there's camera 2, drag and drop that on, wait for the waveforms to draw. And we'll just slide that roughly into place, and then zoom in closer. And again, nudge that clip. Now make sure that you are nudging the top clip, the new one that you brought in, not the original one underneath, or you're going to end up messing up the timing. Now if you do accidentally move it, it started at the beginning of the clip, so you can just drag it back. But you do want to make sure that that doesn't move. Now repeat that process for the rest of your camera angles. And then you can go back to the multicam, make sure that those all have the new footage, and then go back to the original timeline project. And there we have our full 4k log files of the three different multicam angles. That is fantastic. That's the process. Keep in mind, you could also use this to bring in high quality audio recorded in a 32-bit float recorder and synced to one of the camera angles. This workflow gives you the ultimate flexibility. So what do you think? Pretty great, right? Do you agree with me that this is the most important video on the ATEM you've seen? This opens up a whole new world for a lot of people. Using Blackmagic cameras obviously makes this process easier, but the reality is not everyone's using their cameras. And now it doesn't matter. Make sure you watch Alex's video next. And if you want to keep learning about the ATEM, here's a big playlist of all of my ATEM videos. Don't forget to subscribe for more of these. Thanks for watching and see you in the next video.