do a basic primary grade and camera matching inside the multicam clip, but don't make any adjustments at the master level. In R15, there are fewer reasons to flatten than there were in R14, so you may never run into it, but in case you ever do, there are a few ways preserve upper-level adjustments:ġ You could - like I did with R14 - live by the mantra "flatten it before you color it." I.e. color corrections done at the master timeline level get blown away if you right-click on the clip and choose "flatten multicam clip." Corrections at the source clip level (inside the multicam container) will survive a flattening, however, and performing this operation will expose your camera RAW adjustments and controls on the master timeline. It is possible to "stack" color effects on top of multicam clips in your normal timeline, but be aware that if you choose to flatten the multicam clips, resolve discards anything you've done on top of them. To get back "up" to your normal timeline, just double-click on its name here.
You'll know your viewing the contents of a multicam when you see the "breadcrumbs" in the lower left side of the screen, which look like words that say something like Master_Timeline>Multicam_Timeline.
To drill "down" into the multicam clip and see or otherwise effect the source clips (including their RAW settings), you have to right-click on the multicam in the timeline, and select "open in timeline." Inside this view, you can re-sync the clips, cut them, color them, and adjust camera RAW settings on a clip level, and the changes will propagate "upwards," back out to your regular timeline. In other words, at the top level, DaVinci doesn't treat it like camera RAW, but a generic video clip (with the special properties that come along with being multicam, such as being able to select angles). When you drop a multicam clip on the timeline, DaVinci treats it kind of like a compound clip.
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