Multicam clips in DaVinci Resolve, and what they do not do
Last updated 23 September 2026
Ask a room of working editors how to handle three cameras on a DJ set and the answer comes back fast and almost unanimous: make a multicam clip and live-cut it. It is the right answer. It is what the tool is for, it is free in DaVinci Resolve, and anyone who tells you otherwise is selling you something.
It also answers a different question from the one most people are actually asking, and the difference is worth being precise about.
What a multicam clip actually gives you
It gives you an interface for choosing the angle. Your cameras are synced and stacked behind one clip on the timeline, you watch the set play, and you press 1, 2 or 3 as it goes. Later you can right-click any shot and use Switch Multicam Clip Angle to change your mind, and the timing stays put.
That is genuinely good, and the sync works. Resolve will line the cameras up on their audio when the timecode does not match. None of that is the problem.
The problem is that it does not choose the angle. You do. Every second of it, in real time, for the length of the set, and then again on the passes where you fix the bits you rushed.
What that costs, in numbers off a real night
A 77-minute set, three cameras, all of it 4K. Cuecraft made 1,058 cut decisions across that timeline. That is the size of the job hiding inside "just live-cut it": a thousand small choices about whether the crowd is better than the DJ right now, made at the speed the music is playing, several hours into an evening you have already spent shooting.
Most of those thousand are obvious. That is exactly why handing them to somebody is worth something. The ones that matter are the fifty you would have thought about, and you reach those faster when you are not also making the nine hundred you would not.
What Cuecraft hands you instead
A finished cut, as a plain DaVinci Resolve timeline. One video track, one clip per shot, each pointing at your original camera file, master audio on its own track. You open it and the decisions are already made: the DJ camera through the build, the crowd on the drop, the roaming camera when it has the shot nobody else has.
The grade, the pacing and the look stay yours. What goes is the evening spent scrubbing ninety minutes three angles at a time, deciding the same thing over and over.
Every one of those decisions is explained inside Cuecraft, in plain language, next to the cut it belongs to: which camera won, what beat what, and how confident it was. You read them before you export anything.
The honest trade, which runs against us
Cuecraft's timeline is flat, so you cannot right-click a shot and switch its angle. There is no multicam clip in the file. If you disagree with a shot, you go back to the media pool, find the other camera and match it in by hand, the same as any other cut somebody handed you.
That is a real cost and it is a deliberate choice. A flat track is the shape that survives being opened in a different application on a different machine on a deadline, and the multicam construct is a well-documented source of import failures. We would rather give you a file that opens than a file that is cleverer.
There is a second reason, and it is more fundamental than the first. Resolve's scripting API, as of version 21.1, will build a multicam clip for you, align it and flatten it. It has no way to say which angle a given second should show. There is no angle setter anywhere in it. So a multicam clip cannot carry a cut: it can only carry the rig you make the cut with. The decisions have to arrive as edits or not at all. (Read from Blackmagic's own shipped scripting files, 18 September 2026.)
So which one do you want
If you enjoy the live-cutting pass, or the set is short, or you have one particular night that deserves your full attention, make the multicam clip. It is free and it is the right tool.
If you have four sets from the weekend and the pass has stopped being fun, that is what this is for.
Try it on the night you are avoiding
The free version cuts the whole set, however long it ran. It is not a demo and there is no countdown. What is capped is the export: the first fifteen minutes of that timeline open in Resolve. Fifteen minutes is what you get to open, not what it gets to see.
So put a real night through it, one you shot and have to deliver, and open those fifteen minutes next to what you would have done yourself. No card, no account. Your footage never leaves your machine: there is no upload path in the software, so a client's night stays on the drive you copied it to.
If you want the whole set to come out, that is £25 a month or £250 a year, which is the same thing at £20.83 a month. Lifting the export cap is the only thing paying changes. If it does not do what this site says it does, email within 30 days of a charge and it is refunded.