Drop in your camera files and audio recordings. The tool lines them up by sound, checks them for the problems that break multicam edits, and gives you a timeline for Premiere Pro or DaVinci Resolve.
Drop your camera files and audio recordings
Two to 8 files: MP4, MOV, MKV, WAV, MP3 and more. Each one needs to have caught some of the conversation, even on a bad camera mic.
Everything runs in your browser. Nothing uploads.
Camera files, phone recordings and the audio from your recorder or mics. The tool reads them on your computer, however big they are.
Every file heard the same conversation. Matching the rise and fall of the voices puts each one in place, to the millisecond, without a clap or timecode.
See which files have a problem worth fixing first, then take an XML into Premiere Pro or DaVinci Resolve with every clip already in place.
Every camera in the room records the same conversation, even through a weak built-in mic. The tool turns each file’s audio into a loudness curve and slides the curves against each other until the voices match. That works without a clapper, without matching timecode, and with cameras that started minutes apart. It compares whole files, so a camera that split its recording into two files still gets both halves placed.
Most multicam headaches come from the files, not the edit. Phones and screen recorders often write variable frame rate video, which slowly slides out of sync in Premiere and Resolve. Cameras set to 30 and 29.97 fps can’t share a sequence cleanly. A mic plugged into one input leaves a silent channel. And two cameras’ clocks never run at exactly the same speed, so a file that lines up at the start can be a frame or two off an hour later. The tool checks for all of these before you build the sequence.
Premiere’s own audio sync works well on short clips that overlap neatly. It struggles when a camera split its recording, when one file starts long after the others, or when files are an hour long. This tool handles those cases and tells you about drift and frame rate problems that Premiere doesn’t mention. It also works for DaVinci Resolve, and it’s the same method WizCut uses before it cuts an episode.
Once the episode is cut, check it with the loudness checker before you publish.
Syncing is the first step. WizCut does the rest: it works out who is talking and switches between the cameras, so you start from a finished cut instead of a stack of tracks.