Video summary

How to Sync Multicam Audio/Video with Timecode in DaVinci Resolve

Main summary

Key takeaways

Technology

Tech/Workflow Summary: Syncing Multicam Audio/Video with Timecode in DaVinci Resolve

Problem addressed

Common DSLR/SLR cameras don’t output true timecode. When shooting multiple cameras while recording audio separately, you need a reliable post-sync method. Timecode reduces guesswork—especially for documentaries and live broadcast-style workflows where you can’t continuously distribute the same feeds.

Recommended hardware approach (Deity timecode ecosystem)

  • Deity TC-1 units used on Camera A and Camera B (timecode transmit/emit to match camera recording)

  • Deity TC-SL 1 “timecode tablet” used as a portable slate and reference display to verify alignment

  • Deity PR-2 used for audio recording (timecode/alignment for audio)

  • Audio also recorded with a Zoom F6 (as an additional media layer)

Deity devices are described as prosumer-level (compared to older broadcast-centric sync systems), but still practical for multicam workflows.

Important TC-1 output setting detail

In the described setup, the TC-1 output defaults to:

  • Timecode only via an 8-inch style output
  • Plus an added audio pass-through/scratch channel:
    • Left channel: timecode-related sound
    • Right channel: scratch sound

If the timecode audio creates issues, you can remove/mute the “let’s see / timecode audio” while still syncing.

App-based synchronization (“timecode boss” concept)

Before recording, configure the devices using Deity’s Sidus/Cidus app.

  • The app uses time-of-day timecode (easier to track than date/time formats).
  • All devices are set so they display the same timecode before rolling.
  • The app effectively acts as the timecode “boss”—syncing start times (not necessarily “locked” like genlock/crystal sync).
  • Expected drift is small (claimed about 1 frame per 48 hours).

Master/slave direction matters

Make sure each TC device is configured correctly—e.g., TC-1 units should receive timecode from the master source, not transmit when you intended receive.

In the described workflow, timecode flows to:

  • Multiple cameras (Camera A, Camera B)
  • Recorders (Zoom F6, PR-2)

DaVinci Resolve Post Workflow: Converting Timecode to Metadata

Match the project frame rate

  • Set project frame rate to match the media (e.g., 23.976 vs 24).
  • The workflow warns against accidentally changing VFR iPhone footage frame behavior.
  • Keep the Resolve project frame rate aligned with native recording.

Import and inspect (list mode)

  • Import clips and inspect them in list mode to verify timecode correctness for field recorder tracks.

Key failure mode: camera timecode needs conversion

  • Camera A/B may not initially match, because the camera’s recorded timecode (from the “Litsy/LTC” audio layer) must be converted into a form Resolve can use for syncing.

Fix in Resolve: update timecode from the audio track

  1. Select the relevant set of clips (camera + audio layer combinations).
  2. Right-click → Sync Audio → “Update timecode from the audio track.”

This converts audio-based linear/LTC timecode into metadata timecode Resolve can use for sync.

Scratch Audio / Channel Handling

When timecode sync audio is converted, it can sound bad when played.

The workaround described:

  • Clip Attributes → set to mono
  • Select the appropriate embedded channel (the “scratch” channel) for a usable fallback

The approach follows the same logic as for TC audio: converting for sync, then muting/avoiding unusable timecode audio.

Building Multicam Clips in Resolve (Timecode-Based Angle Sync)

  1. Select takes.
  2. Right-click → Create Multi-Camera Clip
  3. Choose Angle synchronization: Timecode (instead of audio waveform sync).

Resolve then creates multicam clips (e.g., “Take 1 multi-camera,” “Take 2 multi-camera”), optionally moving source clips into bins to keep the edit organized.

Timecode isn’t “trust but verify”

Even with timecode, the creator notes risks like:

  • drift
  • synchronization offsets between devices

Verification steps

  • Open the multicam in the timeline.
  • Compare with slate visuals (clap/applause markers implied).

Fine-tuning if alignment is off

  • Adjust by a frame shift (left/right nudging) so audio visually aligns to transitions/joints.
  • Fine-tuning can still be done after starting edits.

Editing Strategy: Keep Consistent Field Recorder Audio

For multicam sequences, the goal is:

  • clean audio remains consistent
  • switching primarily affects camera video angles

In multicam trimming mode, three trim behaviors are highlighted:

  • Trim video
  • Trim video with audio
  • Trim just the audio

Strategy used:

  • Keep the field recorder audio as the always-on sound source
  • Cut/switch camera video angles during editing

Overall Takeaway / Guidance

  • Deity TC devices and slate are effective for leveling/syncing in post using a jam/phone/app timecode workflow.
  • For SLR/prosumer setups, timecode isn’t guaranteed to be perfect, so:
    • Always validate with slate + clap/transition signal
    • Confirm timing in Resolve early (before heavy editing)
    • If sync is off, it’s usually fixable using multicam timeline adjustments

Main speakers / sources

  • Speaker: The video author/instructor (no specific name provided in the subtitles)
  • Primary product source mentioned: Deity (TC-1, TC-SL 1, PR-2) and the Deity Sidus/Cidus timecode app

Original video