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To use multicam in Premiere Pro, create a synchronized multicamera source sequence from your camera clips, make a target sequence from it, then enable Multi-Camera View and switch angles during playback. The key choices are how to sync the footage, whether to preserve gaps, and how audio should behave.
This workflow follows Adobe’s Premiere desktop help pages available on October 7, 2026. Menu labels may vary in later releases or localized editions.
1. Prepare and sync the camera footage
Import the camera angles and any separately recorded audio into the project. In the Project panel, select clips from the same event or take, then choose Clip > Create Multi-Camera Source Sequence. Pick a synchronization method that fits the media:
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| Method | Use it when |
|---|---|
| Timecode | Clips have accurate, overlapping timecode. Adobe also lists Linear Timecode (timecode in a clip’s audio track), Sound Timecode (from a separate recorder), and Aux Timecode (embedded secondary timecode). If cameras have different starting hours but otherwise overlapping timecode, select Ignore Hours. Adobe’s source-sequence guide. |
| Audio | The clips share a clear audio reference that Premiere can align. |
| Clip Marker | You placed markers at the same event in each clip. |
| In Points, Out Points | You can mark corresponding points manually, or audio sync is not usable. This can be practical for a small job. |
For a separately recorded audio clip that is slightly out of sync, use Offset Audio by to apply a frame offset from -100 to +100. To organize clips onto tracks by matching metadata, group by Camera Angle or Camera Label; this can also be used for external or field audio.
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Decide whether to preserve gaps
Enable Create Single Multicam Source Sequence when you need one source sequence that preserves gaps in the footage. Without it, Premiere combines overlapping clips, and clips without overlap can be left unused. After creation, check the generated sequence and any clips that were not moved to the Processed Clips bin. Adobe documents these options in its multi-camera source sequence instructions.
2. Choose the sequence and audio settings
In the creation dialog, set the sequence preset and audio behavior before creating the multicamera source sequence.
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- Sequence preset: Automatic uses the video format of the Camera 1 clip and is Adobe’s default for most scenarios. A specific preset may suit workflows that edit with proxy-resolution clips and finish with higher-resolution media.
- Camera 1 audio: Keeps Camera 1 audio for the editing sequence; other audio associated with video 1 is muted as Adobe describes. It does not support audio-follows-video.
- All Cameras: Retains audio channels from all source clips, up to 32 channels according to Adobe’s documentation. It does not support audio-follows-video.
- Switch Audio: Switches audio with its linked video. Choose this when you want audio-follows-video; the feature must be enabled in the Program Monitor.
The audio channel preset can be Automatic, Mono, Stereo, 5.1, or Adaptive. For an interview with a separately recorded clean mix, consider which track should stay audible while you cut rather than assuming every camera’s scratch audio belongs in the finished edit. Adobe’s source-sequence guide covers the audio options and their behavior.
3. Create the target sequence and enable Multi-Camera View
- In the Project panel, right-click the multicamera source clip and choose New Sequence From Clip. Adobe describes the resulting target sequence as having a track for each camera angle.
- In the Program Monitor, open the Button Editor, find Toggle Multi-Camera View, and drag it onto the button bar.
- Click the new button to turn on Multi-Camera View. The monitor shows the camera views while keeping the program output available for the edit.
See Adobe’s target-sequence instructions for the sequence and view workflow.
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4. Switch angles while playback runs
Play the target sequence and press the main-keyboard number for the camera angle you want. Premiere records the angle changes as edits in the timeline. Review the cut rather than treating the live switch as final:
- To change the angle used by an existing timeline clip, select it and choose the camera in the Program Monitor.
- To change the timing of a cut, use the Rolling Edit Tool and move the edit point.
- Play the edited section again to check both the angle choices and cut timing.
5. Show camera names or timecode overlays
Camera labels depend on the naming choice made when you created the source sequence. Adobe’s target-sequence guide describes enabling overlays to show angle numbers while cutting. For metadata overlays, Adobe’s current guide says Multi-Camera View can display up to two properties, such as Camera Name and Source Timecode.
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In the Source Monitor, open the wrench menu and choose Overlay Settings > Settings. Select the properties, then adjust text size, opacity, and whether overlays remain visible during playback. You can save a configuration as a preset. See Adobe’s Multi-Camera View overlay guide for details.
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