Help and quick start

Four steps take you from raw files to a cut you can finish in Premiere Pro.

1. 1Step 1: Add cameras

   Add the master audio recording of the set and the video files from each camera. If a camera split its recording into several files, add all of them to that same camera.

2. 2Step 2: Sync & edit

   Set each camera's role and motion, and optionally its usage share and average shot length. Choose an output folder with plenty of free space and start. Syncing and editing run on your computer.

3. 3Step 3: Review

   Watch the low-resolution check preview and read the results report: the actual share and shot length of each camera, and any moments flagged for review.

4. 4Step 4: Export to Premiere

   Import the Premiere Pro XML, fine-tune the DJ_EDIT sequence, grade it and render your final video in Adobe Premiere Pro.

Master audio

Use one continuous recording of the whole set, for example from the mixer or a separate recorder. This recording is the timeline everything is synced to. It is never sped up, slowed down or cut inside the set, so the sound of your edit is what you recorded. Only stretches at the very start or end with no camera footage are trimmed.

Camera audio

Record sound on every camera, even with the built-in microphone. Each camera is synced by comparing its own audio with the master audio, so a camera that recorded no sound cannot be synced automatically.

Split clips

Many cameras split long recordings into several files. Add every file of a camera to the same camera; each file is placed on the master timeline using its own audio.

Keep your source files in place

Your original camera and audio files are read, not changed. The Premiere Pro XML points to those files where they are, and in some cases to working copies in the output folder. Keep the source files and the output folder in place, with the same names, until your work in Premiere Pro is finished. If you do move them, see relinking moved media.

Disk space

The app writes analysis and intermediate files to the output folder. For long sets or 4K footage these files can be large. Choose an output folder on a drive with plenty of free space, ideally a fast internal or external SSD, and keep external drives connected while the app is working. Detailed requirements are published with each release.

Each camera has a few settings that tell the automatic edit how to use it.

Role

What the camera shows. DJ front is the main angle on the DJ, wide shows the booth, room or crowd, and detail covers close-ups such as hands, decks and mixer.

Motion

How the camera was operated. Fixed is for a locked-off camera on a tripod. Smooth moving is for a gimbal, slider or steady operator whose movement is part of the shot. Settled moments only is for handheld footage: only the moments where the camera is steady are used.

Usage share

How much screen time each camera should get, for example 50 / 30 / 20 for three cameras. The numbers are relative, so 5 / 3 / 2 gives the same result.

Average shot length

How long, in seconds, the camera usually stays on screen before the edit cuts away, for example 8 seconds for the front camera and 6 seconds for a detail camera.

Targets, checks and results

Usage share and shot length are targets, not fixed rules. Every frame is checked on your computer for black frames, flashes, freezes, blur and shake, and clean footage comes first: a camera is not forced on screen while its picture has a problem. The results report shows the actual share and average shot length of every camera next to your targets, so you can see where and why they differ.

The edit never leaves a black gap. When every angle has a problem at the same moment, the most usable shot is chosen and the moment is flagged for review.

Check preview

The check preview is a low-resolution MP4 of the automatic cut with the master audio. It is meant for a quick watch-through on any computer, not as your final video.

Checking sync

Pick a few moments with a clear sound and picture cue, such as a hand hitting a button on the mixer, a drop or the crowd jumping, near the start, the middle and the end of the set. In Premiere Pro, the SYNC_REVIEW sequence shows every camera aligned on its own track, which makes these checks quick.

Flagged moments

The results report lists every moment that needs your attention, with its time in the set. Go to each time in the DJ_EDIT sequence and decide whether to keep the shot, use another angle or cover it with a cutaway.

When there is no usable footage

If no camera has usable footage at all, the app stops with a clear error message instead of creating a video with black gaps. Check that the camera files are complete, can be played, and belong to the same set as the master audio.

1. Open Adobe Premiere Pro and create a new project or open an existing one.
2. Choose File → Import and select the .xml file from the output folder.
3. Premiere Pro adds two sequences: SYNC_REVIEW, with every camera aligned on its own track under the master audio, and DJ_EDIT, the automatic cut.
4. Open DJ_EDIT and edit it as usual: trim, move or replace any shot.
5. Grade the footage and render your final video from Premiere Pro.

Both are normal, editable sequences. They are not a Premiere Pro multicam source sequence, so you work with the cuts directly on the timeline.

Relinking moved media

If you moved or renamed source files, Premiere Pro shows them as offline or asks you to locate them. Use the Link Media dialog to point to the first missing file in its new location; Premiere Pro usually finds the other files in the same folder. Renamed files have to be selected one by one, so keeping the original names saves time.

A camera can end up slightly out of sync, for example when its own audio is very quiet or distorted, or when the room sound reached the camera with a delay. You can correct this in Premiere Pro without redoing the edit.

1. Open SYNC_REVIEW and find the camera, or the single clip file, that is out of sync.
2. Zoom in and compare its audio waveform with the master audio. Move the clip on its track until the waveforms line up, and note how many frames you moved it.
3. Open DJ_EDIT and, for each cut that uses that clip, use the Slip tool (Y) to shift its content by the same number of frames. Slipping changes which part of the clip is shown without moving the cut points, so the edit stays in time with the music.

If the offset changes over the course of the set, or you are not sure what is wrong, send us the results report as described below.

• After a verified purchase, your license key appears in your account and in the delivery email.
• Activate the desktop app with your license key when asked. Activation needs an internet connection.
• Every computer you activate is listed in your account. You can remove a computer there, for example before you replace it. How many computers can be active at the same time will be published before sales open.
• The app refreshes its activation online from time to time. Your projects in progress and your exported files are never deleted or locked by a license check.
• Lost your key? Sign in to your account with the email address you used at checkout. See also the license agreement.

A good support request lets us help you quickly. Please include:

• your operating system and its version (for example Windows 11 or macOS 15);
• the DJ Multicam Editor version;
• what you did, what happened and what you expected, with the time in the set if it matters;
• the results report from the output folder, and a screenshot of any error message.

Protect your data

• Never send your license key, sign-in codes or payment card details by email. We can find your license from your order number or account email.
• Do not send raw footage or audio unless we ask for it. If we need it, we will suggest a way to share it.
• The results report can contain file names and folder paths. Feel free to remove anything you would rather not share.

Support is provided by email. We reply as soon as we can.

Email: yunus@tunelco.com. More ways to reach us are on the contact page.