Multi-Cam Sync Editing

Here is the breakdown. Whether the reel came off a J-League broadcast truck in Yokohama, a twenty-camera arena concert at Tokyo Dome, or a five-camera panel shot in a Kyoto temple, our multi-cam editors lock each angle to frame-true sync. They do this before the first creative cut.

Here is how this works in practice. We cut on Avid Media Composer and DaVinci Resolve at partner houses including NEP, Q-Tec, and Sony PCL. We use LTC timecode where the truck supplied it. We fall back to PluralEyes-style audio waveform matching or visual slate cues when feeds were shot on their own.

Here is the short of it. Twenty-plus camera angles is routine. We have run concerts with IMAG, broadcast, and cinematic capture at once. We have also added drone and steadicam isolates that need their own sync pass. Colour matching between mixed bodies runs in Rec.709 or ACES. Bodies have Sony VENICE, ARRI Alexa Mini, RED Komodo, and broadcast cameras like Sony HDC-3500.

Here is the breakdown. We add shot-by-shot grading where it is needed for cross-cutting steadiness. Audio blend covers many-source PA feeds, ambient stereo, and lapel mixes folded into one timeline ready for mix. Standard corporate event turnaround runs three to five days. Concert features take two to three weeks. Whatever the angle count or pace, we deliver cuts that read as one tight broadcast.