How it works
From camera files to an editable Premiere cut
At a glance
Four steps, one editable result
Step 1: Add cameras
Add each camera's clips and the continuous master audio of your set. Cameras that split the recording into several files are fine.
Step 2: Sync & edit
Every camera is synced to the master audio using its own sound. Then a first cut is built from your camera roles and preferences.
Step 3: Review
Watch the low-resolution check preview and read the report: actual camera shares, warnings and any moments flagged for review.
Step 4: Export to Premiere
Open the editable XML in Premiere Pro. Refine the cut, add your grade and titles, and render the final video there.
Prepare your files
A good first cut starts with complete input. Gather these for the set you want to edit.
Each camera's clips
Keep each camera's recordings together, for example one folder per camera. If a camera split the set into several clip files, add all of them: every clip is synced to the master audio.
A continuous master audio recording
The recording of the whole set from the mixer or a recorder, from start to finish. The cut is built against it, and your original file is not changed.
Sound on every camera
Each camera needs its own audio track; the built-in microphone is enough. The camera's sound is what lets it be matched to the master recording, so a camera recorded without sound can't be synced automatically.
Free disk space
Analysis writes working files and a check preview to your output folder. Leave plenty of free space, especially for long sets. Detailed requirements will be published with the release.
Set your cameras
Tell DJ Multicam Editor what each camera is for. These preferences shape the first cut, and you can change anything later in Premiere.
Camera roles
- DJ front:
- the main angle on the DJ.
- Wide:
- the room, the stage or the crowd.
- Detail:
- close-ups, such as hands on the decks.
Motion preference
- Fixed:
- a locked-off camera on a tripod or mount.
- Smooth moving:
- a camera that moves gently; its smooth movement can be used.
- Settled moments only:
- a camera that moves a lot; only its steady moments are used.
Usage share
Say roughly how much of the edit each camera should get, for example 50/30/20. The report shows the share each camera actually got. It can differ from your target when a camera's footage has problems.
Average shot length
Choose how long shots from each camera should last on average, for a calmer or a busier cut. The report shows the actual result.
Sync and edit
Your cameras are lined up with the mix, every frame is checked, and the first cut is built from your preferences.
Sync to the master audio
Each camera, and each clip of a split camera, is matched to the master audio using its own sound. A clip whose match is uncertain is not guessed into the cut; the report lists it for you to check.
Frame-by-frame technical checks
Every frame is checked for black frames, flashes, freezes, blur and shake. Problem stretches are avoided when a better angle is available at that moment.
Never a black gap
When every angle has a problem at the same moment, the most usable shot is kept and flagged for your review. If there is no usable footage at all, it stops with a clear error instead of rendering black.
The first cut
The automatic cut follows your camera roles, motion preferences, usage shares and shot lengths, and is laid against the master audio without changing its timing.
Review the result
Before you open Premiere, see what was made and where to look.
Check preview
A low-resolution MP4 of the cut, made for watching quickly, not for delivery.
Results report
A readable summary with the share each camera actually got, the actual shot lengths and any warnings.
Flagged moments
Moments where every angle had a problem are listed in the report, so you know exactly where to look before you deliver.
Export to Premiere
You get an editable Premiere Pro XML (FCP7 XML) with two sequences.
SYNC_REVIEW
All cameras aligned to the master audio on separate tracks. Use it to check sync or to cut by hand.
DJ_EDIT
The automatic cut on the master audio, ready for you to refine.
Relink if you move media
The XML points to the camera and audio files on your drive, and in some cases to working copies in the output folder. Leave both where they are until you finish in Premiere Pro, or relink them there if you move them.
Final render in Premiere
Add your grade and titles, then render the final video in Premiere Pro with the export settings you already use. Premiere Pro is sold separately by Adobe.
Normal editable sequences, not a native multicam object
Planned for launch
One colour point per camera
A shared colour-correction point for each camera in the XML, so grading a camera once updates all of its cuts.
DJ head and body tracking
Detects when the DJ is blocked in a shot and switches to a clean angle.
Simple desktop app
A clear English app with real progress, camera thumbnails, cancel and reopen.
Signed installers
For Windows 11 (x64) and macOS 15 or later on Apple silicon. Proposed support, confirmed at release.
Validated Premiere Pro import
Importing the XML into Premiere Pro is tested on both Windows and macOS as a launch acceptance test.
Guides
An instruction PDF, web help and a short setup video.
Planned products: Podcast Multicam Editor, Highlights / Carousel Editor and Standalone Sync are planned as separate products. They are not included in the DJ license and are not available yet.
See what one price includes.
DJ Multicam Editor is $129.95 one-time, with lifetime access and all future DJ product updates. Sales open soon.