# DaVinci Resolve Workflow for Stand-Up Comedy Specials

> **Quick answer:** A DaVinci Resolve workflow for a stand-up comedy special starts with syncing every camera angle into one multicam clip by waveform, cutting in Video Only mode so laughter never jumps, and stitching the strongest take of each joke if you filmed more than one night. Mix the board feed and audience mics on separate Fairlight buses, flatten before you grade.

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*Updated 2026-08-01 · DaVinci Resolve 21.0.3 (July 2026) · Canonical: https://tryuncle.com/learn/davinci-resolve/davinci-resolve-workflow-for-stand-up-comedy-specials*

I've cut interviews, panels, and podcasts on a multicam timeline enough times to know the mechanics. A stand-up comedy special breaks half of that instinct. The whole point of an interview cut is to make the room disappear so the conversation reads clean. The whole point of a comedy special is the room. If you cut around the audience the way you'd cut around a boom mic in an interview, you kill the thing that makes a comedy special work at all: the sound of two hundred strangers finding the same joke funny at the same second.

This guide is the DaVinci Resolve workflow for exactly that job, from camera and mic setup on the night, through multicam sync, cutting for the laugh instead of just the coverage, stitching the best version of a bit across multiple nights if you filmed more than one, mixing a comedian's dialogue against a room full of noise, and getting the finished special out the door. We run a 100,000+ member DaVinci Resolve editing community and have spent 7+ years cutting commercial video professionally, and questions about editing live comedy and event footage show up there often enough that this guide exists to answer them properly, in one place, instead of one Facebook comment at a time.

## What Is a DaVinci Resolve Workflow for a Stand-Up Comedy Special?

A DaVinci Resolve workflow for a stand-up comedy special is the specific sequence of steps that turns raw multicam footage of a live set into a finished, releasable special: syncing every camera angle into one multicam clip, cutting live between the comedian and the audience with the timing of the material rather than the timing of the coverage, mixing the comedian's board feed against the room's own noise, color matching angles shot under stage lighting, and exporting for wherever the special is going. It borrows its core mechanics, multicam clip creation, angle sync, the Multicam Viewer, from the same tools Resolve uses for interviews and events. What's different is the goal every one of those tools is being pointed at. An interview edit hides the seams. A comedy special edit protects the room's own reaction, because that reaction is doing half the comedic work.

That distinction matters more than it sounds like it should. Cut a comedy special the way you'd cut a corporate interview, tight, seamless, minimal audience presence, and you'll produce something technically competent and genuinely less funny than the actual show was. The audience's laugh is not incidental audio to be ducked out of the way. It's load-bearing.

**A comedy special edit protects the room's reaction. An interview edit hides it.** Keep that one distinction in your head through every decision in this guide, because it's the thing that separates a comedy edit from every other multicam workflow Resolve is used for. If you've cut multicam interviews before, our [DaVinci Resolve multicam editing workflow for interviews](https://tryuncle.com/learn/davinci-resolve/davinci-resolve-multicam-editing-workflow-for-interviews) covers the mechanics this guide assumes you already know, angle sync, the Multicam Viewer, cutting live, so that guide is worth having open alongside this one if any of those terms are new.

## How Many Cameras Do You Need to Film a Stand-Up Comedy Special?

Three cameras is the working minimum for anything beyond a phone recording: a wide safety shot covering the entire stage from the back of the room, a tighter shot on the comedian's face and upper body, and a dedicated camera on the audience for reaction shots. Comedy Houston's own filming guide lays out the two-camera budget version of this directly, positioning "Camera A (wide/safety)" at the back of the room, centered, at roughly the performer's chest-to-chin height, running the entire set uninterrupted, with "Camera B (close-up/main)" closer to the stage, offset about 15 degrees, on a longer lens, tight on the face and upper body (source: Comedy Houston, How to Film Stand Up Comedy). Add the audience camera as a third once budget allows, since without it you have nothing but reaction audio and no reaction picture to cut to, and reaction picture is most of what makes a comedy special read as an event instead of a recording.

Professional productions scale well past three. Variety's 2019 look at Comedy Dynamics, a production company with editors who have cut hundreds of stand-up specials, describes their editors working from "seven or eight cameras" across "two or three sets" filmed back to back on consecutive nights, giving them the raw material to pick the strongest performance of every single joke rather than being locked into whatever happened on the one night they filmed (source: Variety, How Comedy Dynamics' High-Tech Editing Helps Fix Snafus With Stand-Up Specials). The Rory Scovel special *Rory Scovel Tries Stand-Up for the First Time*, covered in detail by The Outline, was shot over three nights at Atlanta's Relapse Theater on multiple RED Epic cameras rolling in 5K, generating close to 7TB of footage across the run, with director Scott Moran, director of photography John Campbell, and editor Brad Holland assembling the final cut from whichever night's version of each bit landed hardest (source: The Outline, How a comedy special gets made).

**Sample comedy special camera counts by production scale**

| Scale | Cameras | Nights filmed | What each camera covers |
| --- | --- | --- | --- |
| Solo creator, single set | 1-2 | 1 | Wide safety shot alone, or wide plus tight |
| Small indie special | 3 | 1-2 | Wide, tight, and one audience camera |
| Mid-size professional shoot | 4-5 | 2 | Wide, tight, audience, plus a roaming or crane shot |
| Full comedy special production | 7-8 | 2-3 | Multiple performer angles, multiple audience angles, wide and detail coverage across every night |

Every camera you add is another angle to sync, color match, and keep pointed at something worth cutting to during the live edit. Two well-placed cameras and a genuinely clean board feed will out-edit five mediocre ones every time, and the extra angles only pay off once you have enough material, and enough nights of footage, to actually need the options they give you.

## What's the Right Audio Setup for a Comedy Special?

The right audio setup for a comedy special separates the comedian's dialogue from the room's own noise at the source, on two distinct signal paths, rather than trying to untangle them later in the edit. Comedy Houston's guide states this as plainly as any source we found: "stand-up comedy is 90% audio, 10% video," and warns explicitly against ever "recording a stand-up comedy show using camera audio only" (source: Comedy Houston, How to Film Stand Up Comedy). A camera's onboard mic captures a flat, roomy blend of everything happening near it, comedian included, and it's genuinely difficult to pull a clean dialogue track out of that mix once it's baked into a single file.

The fix is a two-path setup, sometimes a three-path one:

1. **Board feed for the comedian**, an XLR cable run directly from the venue's sound board or the comedian's own wireless mic receiver into a dedicated recorder like a Zoom H5 or Tascam DR-40X, capturing clean, isolated dialogue with none of the room bleeding into it.
2. **A shotgun or room mic for the audience**, mounted on a camera or a stand pointed at the crowd, dedicated entirely to catching laughs, applause, and crowd noise as its own separate track.
3. **A phone recorder as a failsafe**, placed near the stage as a low-tech backup in case either primary path fails mid-set, per Comedy Houston's recommendation (source: Comedy Houston, How to Film Stand Up Comedy).

RODE's own guide to filming live stand-up comedy makes the same two-source split, describing the comedian's audio as fed "through a live event microphone to a sound booth" and captured by connecting "your recording device directly to the switchboard using an XLR cable," while audience sound comes from "a camera-mounted shotgun microphone or a high-quality microphone on a stand near the stage, pointed toward the audience" (source: RODE, Two Tips For Filming Live Stand-Up Comedy). Freelance cameraman Nurhak Karayol, quoted in that same piece, put the live-event mindset behind the whole setup this way: "Most of the actions [in a live event] are 'once in a lifetime moments.' You need to be prepared for them and have a good prediction ability" (source: RODE, Two Tips For Filming Live Stand-Up Comedy). A comedy set is exactly that kind of once-only event. There's no second take of a live crowd's first reaction to a joke, which is precisely why the two-path audio setup matters before you ever open Resolve: a mixing problem you can fix in Fairlight is a minor inconvenience, but a mono blob of comedian-plus-crowd captured through a single camera mic is a problem no amount of editing skill undoes.

**Two separate, clean audio sources beat one blended camera-mic recording for every second of a comedy special.** Get that decision right on the night, and everything covered later in this guide, cutting to laughs, mixing dialogue against crowd noise, becomes possible instead of a salvage job.

## Should You Film a Comedy Special Over Multiple Nights?

Yes, whenever your budget and the comedian's schedule allow it, because a second night of the same material is nearly always stronger than the first, and it gives your edit real options instead of one fixed take of every joke. FunnyHow's own guide to prepping a taping puts the logic plainly: film "at least two sets when possible," since "the second show typically performs stronger" once the comedian understands the room, the timing, and their own blind spots from having just run the material once already (source: FunnyHow, How to prep for taping a special). Comedy Houston frames the same advice from the technical risk side: recording at least two shows means that if something breaks, a mic drops out, a camera runs out of card space, a heckler derails a bit irretrievably, you still have a usable version of the material from the other night (source: Comedy Houston, How to Film Stand Up Comedy).

Comedy Dynamics builds its entire professional workflow around this. Per Variety's reporting, editors there routinely work from footage of "two or three sets back-to-back," specifically so they can, in the words of the piece, "fish through and find" the strongest performance of any individual joke and cut it into the final assembly from whichever night nailed it (source: Variety, How Comedy Dynamics' High-Tech Editing Helps Fix Snafus With Stand-Up Specials). Rory Scovel's special used the same approach across three nights at the Relapse Theater, with editor Brad Holland drawing primarily from the strongest overall night while pulling individual shots and bits from the other two where they outperformed (source: The Outline, How a comedy special gets made).

The tradeoff is real and worth naming honestly. Multiple nights means multiple full multicam syncs, multiple full sets of camera angles to color match, and a genuinely harder editing decision: not just "which cut of this joke is best" but "which entire night's version of this bit is best, and does it match the wardrobe and lighting of the joke before and after it in my final sequence." FunnyHow's guide flags exactly this concern, advising comedians to keep "consistent mic hand placement" and track "water glass positioning" between nights specifically because small physical inconsistencies "create big editing headaches" once you're trying to stitch two different nights into one seamless-looking set (source: FunnyHow, How to prep for taping a special). If you're a solo creator filming a single set in a small room with one camera, none of this multi-night complexity applies to you, and that's a legitimate, simpler workflow covered later in this guide. If you're producing anything close to a professional special, plan for at least two nights from the start, because retrofitting a second night's footage into an edit you've already built around one night's material is far more painful than planning for both from the beginning.

## How Do You Sync Multicam Footage From a Comedy Special in DaVinci Resolve?

Waveform sync is the right default for comedy special footage in DaVinci Resolve, because every camera in the room is picking up the same shared sound, the comedian's amplified voice and the crowd's own noise, which is exactly the kind of common audio event Resolve's waveform sync method is built to lock onto. Per Blackmagic's own reference manual, creating a multicam clip is a short, repeatable process: "Import all the ISO (isolated camera) clips that correspond to the multi-camera performance or event that you'll be editing into the Media Pool," then "Select all the clips that you need to sync together, right-click the selection, and choose 'Create Multicam Clip Using Selected Clips'" (source: DaVinci Resolve Manual, Blackmagic Design, mirrored). In the New Multicam Clip Properties dialog that opens, set Angle Sync to Sound rather than Timecode, since almost no independent comedy shoot jam-syncs timecode across separate camera bodies before a live show, but every one of them shares the same room audio the moment the comedian steps on stage.

This is one of the most common questions that comes up in our editing community: whether to bother with timecode gear at all for a live comedy shoot. Unless you're renting a full production package with genlocked cameras, the honest answer is no. Waveform sync against the comedian's amplified voice, or the room's own applause at the top of the set, does the job reliably without the extra hardware and setup time. If you want the fuller picture of every sync method Resolve supports, including timecode and clapperboard sync for shoots where those actually make sense, our guide on [how to sync audio in DaVinci Resolve](https://tryuncle.com/learn/davinci-resolve/sync-audio) walks through all three.

**Waveform-syncing a comedy special: a worked example**

1. Import every camera's footage from a given night into its own labeled Media Pool bin (Wide, Tight, Audience, and so on).
2. Confirm every angle shares the same frame rate before syncing. A mismatch here is the single most common cause of a failed or stuttering multicam sync, covered in more detail further down.
3. Select every angle for that night, right-click, and choose Create Multicam Clip Using Selected Clips.
4. Set Angle Sync to Sound (waveform) in the properties dialog, name the clip clearly by night ("ComedySpecial_Night1_Multicam"), and click Create.
5. Resolve analyzes the audio across every angle and generates one synced multicam clip.
6. Scrub through the result at multiple points, not just the opening applause, since a sync that holds for the first five minutes can still drift by the end of an hour-long set if your cameras' internal audio clocks run at slightly different actual speeds.

As of DaVinci Resolve 21, this process got meaningfully more capable for exactly this kind of footage. Newsshooter's coverage of the version 21 release notes confirms two changes that matter directly for a comedy special sync: "multicams can include all audio tracks for each angle" and "multicams can use full clip extents on creation and during sync" (source: Newsshooter, DaVinci Resolve 21 final release). The second point matters if one camera started rolling a few seconds before another, or if you want a few extra frames of pre-roll audience noise available on either side of a cut; earlier Resolve versions could trim a multicam clip down to only the exact overlapping window shared by every angle, cutting off usable handle you might want later.

## Video Only vs. Audio Follows Video: Which Multicam Mode Fits a Comedy Special?

Video Only is the correct default for the bulk of a comedy special cut, because your comedian's board feed is one continuous, clean audio source that should never be interrupted by a camera cut, exactly the way it works for a multicam interview. Set it with Option-Shift-] in the Multicam Viewer before you start cutting live, per Blackmagic's manual shortcut reference (source: DaVinci Resolve Manual, Blackmagic Design, mirrored). Every angle switch afterward leaves your comedian's audio playing straight through, uninterrupted, no matter how many times you punch to the audience camera.

Where a comedy special genuinely differs from an interview is the audience track. You're not trying to hide the room's noise, you're actively featuring it, which means you'll frequently want to bring the audience mic up under a laugh even while your Video Only setting keeps the comedian's dialogue track as your primary audio bed. That's not a job for the Multicam Viewer's audio mode toggle at all, it's a Fairlight mixing decision, covered in full further down. The multicam audio mode controls which single track plays as you cut live during your rough assembly; the actual audience-and-dialogue blend gets built afterward on the Fairlight page, once your cut is locked.

**Which multicam mode to use, by moment in a comedy special**

| Moment in the set | Multicam mode | Why |
| --- | --- | --- |
| Standard joke delivery and crowd cutaways | Video Only | Keeps the comedian's board feed playing continuously under every angle switch |
| A bit built entirely around crowd work or a heckler exchange | Video Only, but consider Audio Only briefly to preview the crowd mic's own recording | Lets you check whether the audience mic alone captured something worth featuring on its own |
| Applause breaks or a full standing ovation at the end | Video Only for the cut, then bring audience level up manually in Fairlight | The board feed usually goes quiet or picks up almost nothing during long applause, so the audience track becomes your real audio source in the mix even though Video Only is still controlling the cut |

If your comedian is wireless and roams into the crowd for a bit, common in longer specials, and a handheld camera or a second mic captures usable audio from inside the audience itself, you may occasionally want Audio Follows Video for that specific section, since the standard board feed setup can break down once the comedian physically leaves the stage area covered by the primary mic zone. Treat that as an exception you consciously choose for a specific section, not your default setting for the whole special.

## How Do You Cut a Stand-Up Set for Maximum Laughs in DaVinci Resolve?

Cutting a stand-up set for maximum laughs means timing your angle switches to the joke's own rhythm, not to a fixed cadence, letting a punchline finish and land before you ever cut away from the comedian. Roger Nygard, an editor whose credits include *Veep* and *Curb Your Enthusiasm*, distilled the core discipline behind comedy editing into one line, discussed on the YouTube channel This Guy Edits and reported by CineMontage: "The enemy of comedy is the unnecessary pause" (source: CineMontage, Want to Edit Funnier? Let Roger Nygard Show You How). That's a warning against dead air in the setup, not an instruction to rush the punchline itself. The pause you're removing is the one before the joke gets going. The pause after the punchline, while the room actually laughs, is the opposite of dead air. It's the payload.

The Comedy Crowd's own breakdown of comedy editing technique backs this up from the reaction-shot side specifically: the trick with a reaction cut is to "cut to the reaction as quickly as possible after a punchline," getting the viewer to the crowd's response without lingering too long on the setup that led there (source: The Comedy Crowd, How To Edit Comedy). For a stand-up special, that's a near-literal instruction: as soon as a punchline lands and the first laugh audibly starts, cut to your audience camera, and hold that shot through the meat of the laugh rather than snapping straight back to the comedian a half-second later.

**A worked timing example: cutting a single punchline**

1. Comedian delivers the setup on your tight camera angle. Stay on this angle. Don't preemptively cut to the audience before the joke's information is complete, since a viewer needs the full setup to get the payoff.
2. The punchline lands. Hold the tight angle for a beat, long enough for the punchline's final word to register, but no longer.
3. The instant the first audible laugh begins, cut to your audience camera.
4. Hold the audience shot through the peak of the laugh, roughly one to two seconds depending on how big the laugh is, not a fixed frame count.
5. As the laugh starts to settle, cut back to the comedian on your tight angle, timed so you land back on them right as they begin the next line, not mid-sentence.

That fifth step is where most first-time comedy edits go wrong in the opposite direction: cutting back to the comedian too early, on top of the laugh's peak, which visually steals the room's own reaction from the viewer instead of letting them share it. **A laugh needs room to breathe on screen the same way it needs room to breathe in the room.** Cut back too fast and you've told the viewer the joke is over before the audience has finished agreeing with you that it's funny.

For a longer bit built from multiple smaller laughs stacked together, the same principle scales down: don't cut to the crowd on every single chuckle, reserve the audience cutaway for a joke's actual punchline or a standout tag, and let smaller laughs play under a continuous shot of the comedian. Cutting to the crowd on every beat turns a comedy special into something that visually feels like a tennis match, exhausting rather than immersive, and it undercuts the bigger laughs by spending the same visual currency on the small ones.

## How Do You Stitch the Best Version of a Joke From Multiple Nights?

Stitching the best version of a joke from multiple nights means marking every usable take as you review each night's footage, then editing the strongest performance into your assembled sequence at a natural break point, ideally matching the camera angle on either side of the cut so the splice hides inside a continuous shot instead of announcing itself with an angle change. This is precisely the mechanism Comedy Dynamics builds its whole workflow around. Per Variety, editors there work from "seven or eight cameras shooting two or three sets back-to-back" specifically so they can pull whichever night's version of a bit "sculpted into something coherent" reads best, blending material across shows into what reads on screen as one continuous set (source: Variety, How Comedy Dynamics' High-Tech Editing Helps Fix Snafus With Stand-Up Specials).

The practical Resolve workflow for this:

1. **Sync each night into its own multicam clip**, as covered above, keeping Night 1 and Night 2 as entirely separate multicam clips rather than trying to merge them into one.
2. **Build a rough assembly of your strongest overall night first.** Comedy Dynamics's approach, and the approach used on Rory Scovel's special, both lean on a "primary night" as the backbone, with other nights supplying replacement material rather than an even blend of everything (source: The Outline, How a comedy special gets made).
3. **Mark weak or flubbed jokes on your primary night's timeline** using Resolve's standard timeline markers, color-coded to flag "needs replacement" versus "keep as is."
4. **Review your secondary night's multicam clip against each flagged joke**, and if the secondary night's version is stronger, cut that section directly into your primary sequence, replacing the flagged section entirely.
5. **Match camera angle across the stitch wherever possible.** If your primary night cuts to the tight angle right before a punchline that needs replacing, try to also be on the tight angle on the secondary night's version at the equivalent moment, so the visual language doesn't shift right at the splice.
6. **Cut on a natural beat**, a breath, a pause, the end of a sentence, never mid-word, so the audio join is inaudible even before you've done any audio smoothing in Fairlight.

The wardrobe and physical continuity groundwork matters most exactly here. FunnyHow's guide advises comedians to keep "consistent mic hand placement" and track their water glass between nights, because small mismatches "create big editing headaches" the moment you try to cut between two nights mid-bit (source: FunnyHow, How to prep for taping a special). If your comedian wore a different shirt on night two, or held the mic in the opposite hand, a stitch that would otherwise be invisible becomes an obvious jump cut the second the picture changes on either side of your edit point. Where wardrobe and staging genuinely can't be matched (a different mic hand, a moved water glass), stitch on your audience camera instead of the comedian angle, since a brief crowd reaction shot bridges the visual mismatch far more cleanly than cutting directly between two mismatched comedian shots.

If you're weighing whether a specific replacement is actually worth the visible risk of a stitch that might read wrong, the safer call is almost always to keep the weaker but continuous version rather than force an obviously mismatched swap. A joke that's slightly less punchy but visually seamless beats a punchier joke with a jump cut a sharp-eyed viewer notices and remembers instead of laughing.

## How Do You Handle Continuity Errors When Editing Across Nights?

Handling continuity errors when editing across nights means catching wardrobe, prop, and physical mismatches before you commit to a stitch, and having a small set of editing tricks ready for the mismatches you can't avoid. The most common continuity breaks in comedy special footage, per FunnyHow's practical guidance, are exactly the small physical details a comedian isn't thinking about mid-set: which hand is holding the mic, where the water glass sits on the stool, whether a jacket comes off partway through the set on one night but not the other (source: FunnyHow, How to prep for taping a special).

**Common continuity mismatches and how to work around them in the edit**

| Mismatch | Why it happens | Edit-side fix |
| --- | --- | --- |
| Different mic hand between nights | Comedian switches unconsciously mid-set | Stitch on an audience cutaway instead of a direct comedian-to-comedian cut |
| Wardrobe difference (jacket on vs. off, different shirt) | Nights filmed on different calendar days, comedian dressed differently | Use a wide safety shot for the stitch, where wardrobe reads less obviously than a tight shot |
| Water glass or prop moved | Small staging drift between nights | Cut on a moment when the prop is off-screen or out of frame on both nights |
| Different lighting look between nights (venue changed a gel, a bulb, or dimmer setting) | Venue crew reset or adjusted rig between shows | Color match aggressively in the grading pass, covered in the next major section, to unify the look before the stitch is visible |
| Comedian's energy or pacing genuinely different between nights | Natural variation in live performance | Accept it. A slightly different pace across a stitch is far less noticeable to a viewer than a visible wardrobe jump, and it's rarely worth abandoning a stronger joke over |

The wide safety shot earns its place in the camera plan specifically because of this table. A wardrobe mismatch that's glaring on a tight close-up often reads as nearly invisible on a wide shot from the back of the room, simply because there's less screen real estate devoted to the mismatched detail. If you know in advance that a stitch is coming, because you flagged a weak joke on your primary night during review, plan to land that stitch on your widest available angle rather than your tightest one.

One habit worth adopting from professional comedy post: build a simple continuity note per night, even an informal one, logging wardrobe, any prop changes, and anything visually distinct about that night's performance, before you start cutting. It costs a few minutes per night and saves considerably more time than discovering a mismatch mid-edit, scrubbing back through footage to figure out which specific joke it affects, and rebuilding a stitch you'd already committed to.

## How Do You Mix Board Feed and Audience Mics in Fairlight?

Mixing board feed and audience mics in DaVinci Resolve's Fairlight page means routing each source to its own bus, so you can control the comedian's dialogue level and the crowd's reaction level independently instead of fighting a single blended track. A bus in Fairlight is, functionally, a common signal point that combines multiple sources into one controllable path, and Fairlight's routing lets you send different tracks to different buses with independent level control on each (source: Audio Bus in Fairlight Explained, DVResolve.com). For a comedy special, that means:

1. **Route your board feed track (the comedian's dialogue) to a Dialogue bus.**
2. **Route every audience or room mic track to a separate Audience/Crowd bus.**
3. **Set your Dialogue bus as the level you build your whole mix around**, since it's the track that actually needs to be intelligible from the first second to the last.
4. **Ride the Audience bus level up during laughs and applause**, and pull it down under the comedian's setup lines, so the crowd never masks dialogue but still reads as a present, alive room during every reaction.

Beyond simple bus routing, DaVinci Resolve's Fairlight mixer also supports VCA groups, control faders that don't pass audio themselves but adjust the gain of every fader assigned to them proportionally, letting you nudge your entire audience mix up or down with one fader move instead of adjusting each individual mic track separately. If you're running more than one audience mic (a stand-mounted room mic plus a camera-mounted shotgun, for instance), grouping them under a single VCA gives you one control point for "how loud is the crowd right now" instead of two or three faders you have to move in lockstep by hand.

**A comedy special's basic Fairlight routing structure**

| Track | Routes to | Purpose |
| --- | --- | --- |
| Board feed (comedian's mic) | Dialogue bus | The track your whole mix is built around; needs to stay intelligible throughout |
| Room/stand mic (audience) | Audience VCA group, then Audience bus | Captures general crowd presence and laughter |
| Camera-mounted shotgun mic (audience) | Audience VCA group, then Audience bus | Secondary audience source, useful redundancy if the room mic has issues |
| Any handheld or roaming mic for crowd-work bits | Dialogue bus, temporarily, during that section only | The comedian is speaking through it even though it's physically in the audience |

This is also where the free-versus-Studio question gets a genuinely honest answer, not a sales pitch. Fairlight's core mixer, including full bus routing, VCA groups, a six-band parametric EQ, standard dynamics processors, and loudness metering, is included in DaVinci Resolve's completely free edition. You do not need Studio to build the routing structure above. What Studio adds is the DaVinci Neural Engine's AI-powered audio tools, Voice Isolation among them, which we cover next specifically because a live comedy audience is exactly the kind of noisy, unpredictable audio environment where those tools earn their price.

## How Do You Clean Up Noisy Audience Audio Without Killing the Laughs?

Cleaning up noisy audience audio without killing the laughs means removing the noise you don't want, HVAC hum, a nearby conversation, a chair scrape, without touching the crowd noise that's the entire point of the track. This is a genuinely harder problem than standard dialogue cleanup, because on a comedian's board feed, "noise" and "signal" are clearly separable (the comedian's voice is signal, everything else is noise). On an audience track, the noise you want gone and the noise you want to keep, laughter, applause, crowd murmur, live in the exact same frequency range and often overlap in time.

DaVinci Resolve Studio's AI Voice Isolation, part of the DaVinci Neural Engine alongside tools like Magic Mask and SuperScale, is built to separate a foreground voice from background sound in a mixed recording, room tone, HVAC, wind, and similar (source: DaVinci Resolve free vs Studio, Storyblocks). It's Studio-only, not available in the free edition. Used on your comedian's board feed, it can help if any room bleed made it onto that track despite your isolated mic setup. Used carelessly on your audience track, it will actively work against you, since its whole job is stripping out exactly the ambient, non-dialogue sound that is your audience track's entire reason for existing. If you reach for Voice Isolation anywhere in a comedy special mix, point it at your comedian's dialogue, not your crowd's reaction.

**What actually helps a noisy audience track, and what doesn't**

| Tool or technique | Good for | Not for |
| --- | --- | --- |
| AI Voice Isolation (Studio) | Cleaning stray room noise off the comedian's board feed | Audience tracks, since it strips the reaction sound you're trying to keep |
| Standard EQ (free and Studio) | Reducing a specific problem frequency, like HVAC hum in a narrow band, on either track | Broad, unpredictable noise across the full spectrum |
| Noise Reduction plugin (free and Studio, via Fairlight FX) | Removing a consistent background hiss or hum on the dialogue track using a noise profile | Aggressively cleaning a genuinely loud, chaotic audience track without also thinning out the laughs |
| Simple level automation (riding the fader) | Balancing audience level against dialogue moment to moment | Fixing an actually noisy or distorted recording; automation controls level, not quality |
| Gentle compression on the Audience bus | Evening out the difference between a small chuckle and a huge laugh so neither buries the other in the mix | Making a distorted or clipped recording sound clean; compression can't undo clipping |

The most common audience-track problem isn't background noise at all, it's clipping from a laugh or applause peak that overloaded the mic's input on the night. There's no software fix that fully undoes digital clipping once it's baked into a recording; the waveform is genuinely gone, not hidden. The actual fix happens before the shoot: set your audience mic's gain conservatively during soundcheck, accounting for the fact that a comedy crowd's peak volume during a huge laugh or a standing ovation is dramatically louder than the same crowd's ambient murmur between jokes, and it's far better to under-gain slightly and boost in the mix than to clip your single best laugh of the night beyond repair.

One of the more common questions in our editing community when someone's cutting their first live-audience project is whether Resolve's free version is simply not capable enough for messy on-location audio like this. It is. The core cleanup tools, EQ, standard noise reduction, compression, level automation, are all in the free edition and will solve the great majority of real-world audience audio problems. Voice Isolation is a genuine convenience for a specific, narrower problem, not a requirement for a usable mix.

## How Do You Handle Hecklers, Crowd Work, and Unscripted Moments in the Edit?

Handling hecklers and crowd work in the edit means treating those moments as genuinely unscripted material that needs its own judgment call, not forcing them into the same cut rhythm as a rehearsed punchline. A heckler exchange or an improvised bit with an audience member breaks the setup-punchline-laugh structure the rest of this guide is built around, because you don't know in advance where the laugh is going to land, and sometimes the comedian's best material comes from how they handle an interruption rather than from the written set itself.

A few practical patterns for this kind of footage:

- **Widen your cut spacing.** Crowd work often needs more time on a single shot for a viewer to follow what's actually happening, who said what, how the comedian is responding, before you cut away. Cutting on your standard punchline rhythm during an improvised exchange often confuses the sequence of events instead of clarifying it.
- **Prioritize your audience camera differently.** Instead of cutting to the crowd only after a punchline, you may need to cut to a specific audience member mid-exchange so the viewer can see who the comedian is actually talking to. If your audience camera wasn't positioned to isolate individual audience members, this is a real limitation you'll hit in the edit, worth planning for on the next shoot rather than something Resolve can fix after the fact.
- **Keep the raw length longer than you think you need in your rough assembly**, then trim once you know how the bit actually plays. Unscripted material often runs longer in the room than it needs to on screen, but cutting it down before you've watched the full exchange several times risks removing the exact beat that made it land live.
- **If the heckler moment doesn't work on screen the way it worked in the room, it's fine to cut it entirely, even if it was one of the biggest laughs of the night.** A crowd's live reaction to being physically present for an unrepeatable moment doesn't always translate to a viewer watching a recording days or months later, and forcing an edit to include a moment that doesn't land on screen, just because it landed live, is a common mistake that weakens an otherwise strong cut.

This is also where having filmed multiple nights, covered earlier, pays off differently than it does for scripted material. You can't stitch a heckler exchange from one night into a different heckler exchange from another night, since they're genuinely different unrepeatable events. What multiple nights gives you instead is more chances that at least one night produced crowd work strong enough to keep, and the freedom to simply cut an unscripted bit entirely from your final assembly if neither night's version holds up on screen, without losing a scripted joke you were counting on.

## How Do You Color Grade a Comedy Special Shot Under Stage Lighting?

Color grading a comedy special shot under stage lighting means establishing your reference look on the comedian's primary angle first, then matching every other angle, including the audience camera, to that same look, since stage lighting rigs are built to flatter the performer and almost never light the crowd the same way. DaVinci Resolve's own manual is explicit that this is intentionally a separate process from multicam sync itself: each angle in a multicam clip keeps its own individual grade on the Color page, so switching angles on the timeline also switches which grade is visible, which is exactly the behavior you want once you flatten and start grading.

The practical order:

1. **Finish and lock your cut first**, using the multicam workflow and stitching approach covered above. Grade after the edit is locked, not before, since a late change to which night's footage you're using means regrading material that might not even survive to the final cut.
2. **Flatten the multicam clip**, converting it into individually gradable source clips.
3. **Grade your primary comedian angle first**, establishing skin tone, white balance, and exposure as your reference look, accounting for whatever colored stage lighting or gel washes the venue used, since comedy venues frequently run warmer, more saturated lighting than a neutral interview setup would.
4. **Match your secondary comedian angles (wide, alternate tight shots) to that reference**, using Shot Match or a manually built node graph, the same approach covered in more depth in our [multicam editing workflow for interviews](https://tryuncle.com/learn/davinci-resolve/davinci-resolve-multicam-editing-workflow-for-interviews) guide.
5. **Grade the audience camera separately and deliberately**, since house lighting on a crowd is almost always dimmer, cooler, and less controlled than stage lighting on the performer. Don't force the audience shot to an identical grade as the stage; a slightly cooler, more naturalistic look on the crowd often reads as more honest than an artificially matched, over-lit audience shot.
6. **If you filmed multiple nights, grade each night's footage to the same final reference look**, since even identical venue lighting can shift slightly night to night depending on bulb age, a different gel swap, or a dimmer board setting a different crew member touched.

That last point connects directly back to the continuity discussion earlier in this guide. A stitch between two nights that's grade-matched carefully is far less noticeable than one where the color temperature visibly shifts right at the edit point, and it's often the single most effective tool for hiding a stitch that a wardrobe or prop mismatch alone would otherwise make obvious.

## What Goes Wrong, and How Do You Fix It?

Most comedy special editing problems trace back to a small set of root causes specific to live-audience, multicam footage, and recognizing the pattern is faster than troubleshooting from scratch every time.

**Comedy special troubleshooting**

| Symptom | Likely cause | Fix |
| --- | --- | --- |
| Multicam sync fails, or angles won't line up | Weak or missing shared audio for waveform sync, often because the room mic was too far from the stage on one angle | Try syncing off a strong shared moment, like the top-of-show applause, instead of the full-set audio; switch a specific angle's sync source manually if Auto fails |
| Sync holds early in the set but drifts by the end | Mismatched internal audio clocks between the board feed recorder and camera audio | Use Fairlight's Elastic Wave to stretch the drifting track back into alignment; match sample rates across every recording device before your next shoot |
| Cutting to the audience camera also cuts the comedian's audio | Multicam Viewer set to Audio Follows Video instead of Video Only | Press Option-Shift-] to lock cutting to video only |
| Audience track is distorted or clipped on the loudest laughs | Mic gain set too high during soundcheck, then a huge laugh or ovation overloaded the input | No full software fix for clipping; ride audience gain down slightly for future shoots and accept the loss on existing footage, using EQ to reduce the harshest distorted frequencies rather than trying to fully restore it |
| A stitch between two nights is visibly obvious | Wardrobe, prop, or lighting mismatch between the nights | Move the stitch point to a wide shot or an audience cutaway; grade both nights to match more aggressively before finalizing |
| Timeline stutters on one specific camera angle | Mixed frame rates being conformed with the default Nearest retime process | Switch Retime Process to Frame Blend or Optical Flow in Project Settings > Master Settings |
| A punchline reads as flat even though the room's laugh was huge live | Cut lingered too long on the setup, or cut away to the audience before the punchline's final word landed | Trim the setup, and confirm the cut to the crowd happens right as the laugh starts, not before |
| Voice Isolation makes the audience track sound thin or artificial | Voice Isolation applied to a crowd/reaction track instead of dialogue | Remove it from the audience bus entirely; reserve it for the comedian's board feed only |

**A worked example: fixing a joke that doesn't land in the cut**

Say you've assembled a rough cut, and a bit that got a huge laugh live falls flat when you watch the edit back. Before assuming the joke itself is the problem, check three things in order, since the actual cause is very often one of these rather than the material: is the cut lingering on the setup too long, adding a dead pause Roger Nygard's "enemy of comedy" warning is specifically about (source: CineMontage, Want to Edit Funnier? Let Roger Nygard Show You How); is the punchline's final word getting cut off or talked over by an early camera switch; and is the audience reaction shot actually landing after the laugh has started, rather than a beat early, robbing the viewer of hearing the room agree the joke worked before they see the room's face doing it. Fix the timing of all three before you consider cutting the joke entirely, since a mistimed cut kills far more jokes in post than genuinely weak material does.

**Watching your own timeline can only tell you so much when you're not sure which of these three things is actually wrong.** If you're staring at a flat cut and can't tell whether it's the setup pacing, the punchline cutoff, or the reaction timing, that's exactly the kind of specific, project-level stuck point Uncle can look at directly on your screen and help you isolate, live, inside the Edit page you're already working in.

## What Export Settings Should You Use for a Comedy Special?

Export settings for a comedy special depend entirely on where it's going, and it's worth planning your delivery target before you finish your grade, since a vertical short-form cut and a full-length streaming master have genuinely different requirements. Comedy Houston's guide gives concrete, usable numbers for the two most common independent creator destinations: for YouTube, export at 3840x2160 (4K), 24 or 30fps, using H.264 or H.265, in a 35 to 45 Mbps bitrate range; for Instagram Reels or TikTok, export vertical at 1080x1920, 30fps, H.264, in a lower 10 to 15 Mbps range appropriate for those platforms (source: Comedy Houston, How to Film Stand Up Comedy).

**Export settings by destination**

| Destination | Resolution | Frame rate | Codec | Bitrate |
| --- | --- | --- | --- | --- |
| YouTube (full special or long-form) | 3840x2160 (4K) | 24 or 30fps | H.264 or H.265 | 35-45 Mbps |
| Instagram Reels / TikTok (short clips) | 1080x1920 (vertical) | 30fps | H.264 | 10-15 Mbps |
| A streaming platform or client delivery spec | Follow the platform's or client's exact delivery document | Match source | Whatever codec their spec requires | Follow their spec exactly, not a general guideline |

That third row matters more than it looks like it should. If you're delivering to Netflix, a comedy label, or any client with a formal delivery spec, that spec overrides every general guideline in this table, since a mismatched delivery file can bounce a QC pass and cost you real turnaround time. General guidelines like the ones above are for independent, self-published work where you're the only one setting the bar.

Shooting and editing in 4K even when your final delivery is 1080p is worth doing specifically because of the short-form clip pipeline. Comedy Houston's guidance to "shoot in 4K when possible for post-production cropping flexibility, particularly for vertical Instagram/TikTok formats" applies directly here: a comedy special almost always gets re-cut into short promotional clips after the full special ships, and having 4K source material gives you real cropping room to reframe a wide comedian shot into a tight vertical clip without visibly losing resolution, something a 1080p source can't do cleanly.

## Can AI Tools Help You Edit a Comedy Special Faster?

A newer category of AI editing tools has started targeting multicam recordings broadly, and it's worth being honest about what they can and can't do for a comedy special specifically, since none of them are built for this genre in particular.

Eddie AI generates a "full aligned rough cut with angles chosen based on who is speaking when," using speaker detection to sync and switch between up to six camera angles automatically, exporting an editable project for DaVinci Resolve, Premiere Pro, or Final Cut Pro (source: Eddie AI Help Center). That's genuinely useful for a podcast or interview, where the correct angle is simply whoever's talking. A comedy special breaks that logic almost entirely, since the "correct" angle after a punchline isn't the person still speaking, it's the audience who isn't speaking at all, just laughing. Speaker-detection auto-cutting has no mechanism for making that call. PremiereCopilot bundles a similar multicam auto-cut feature natively inside Adobe Premiere Pro, though it doesn't currently offer that specific automation inside DaVinci Resolve (source: PremiereCopilot). CutAgent takes a different approach, executing natural-language editing instructions directly inside your actual DaVinci Resolve project on macOS, flagging "keeper moments" and "risky trims" for your approval rather than generating a full auto-cut (source: CutAgent). That's closer to being useful for comedy timing specifically, since you're still the one making the call on when a punchline actually lands, but it's automating specific requested actions rather than understanding comedic rhythm on its own.

**None of these tools know when a room is actually laughing versus when it's just quiet.** That distinction, the one this entire guide has been built around, is still a creative judgment call an editor makes by watching and listening to the footage, not something a speaker-detection algorithm or a natural-language command can currently do for you.

If your goal is learning DaVinci Resolve well enough to make that judgment call yourself, rather than having a tool attempt it for you, that's a different problem than any of these auto-cut tools solve. Blackmagic's own free training is the honest starting point for structured fundamentals, and creators like Casey Faris run genuinely well-regarded YouTube channels and courses specifically on Resolve's editing and color tools, alongside communities like Reddit's r/DaVinciResolve where working editors trade real troubleshooting advice. None of those resources watch your actual comedy special timeline while you're stuck on a specific sync problem or a mistimed cut at 1am before a deadline, though, which is a different, narrower gap.

TryUncle is the on-screen assistant for DaVinci Resolve on macOS. Ask in plain words and Uncle points at the exact control on your screen. Rather than auto-cutting your comedy special for you, it watches your actual project, through standard macOS screen recording and accessibility permissions, and when you ask a question, by voice, a quick check, or typing, it answers out loud while pointing at the exact control on your screen, live, inside the Edit, Color, or Fusion page you're already working in. If you're stuck on why your waveform sync won't hold across a full hour-long set, or where the Fairlight bus routing actually lives, or whether your cut to the audience is landing too early on a specific punchline, that's the kind of project-specific stuck moment it's built to help with, without pulling you out of Resolve into a video or a forum search. It's currently in founder pricing at $29.99 a month for the first 100 seats, cancel anytime, with current details at [TryUncle](https://tryuncle.com/?utm_source=tryuncle-learn&utm_medium=blog&utm_campaign=davinci-resolve-workflow-for-stand-up-comedy-specials). If you want the fuller picture of what it does and doesn't do before trying it, [what is TryUncle](https://tryuncle.com/learn/davinci-resolve/what-is-tryuncle) walks through the whole tool in one place.

**Where AI tools for comedy special editing actually differ**

| Tool | What it does | Understands comedic timing? | What it doesn't do |
| --- | --- | --- | --- |
| Eddie AI | Auto-generates a rough cut with speaker-based angle switching, up to 6 cameras | No; cuts based on who's speaking, not on laugh timing | Doesn't know to cut to the crowd after a punchline |
| PremiereCopilot | Bundles multicam auto-cut and other AI editing features | No; same speaker-detection logic, and Premiere-only for now | Not currently available inside DaVinci Resolve |
| CutAgent | Executes natural-language editing commands on your actual Resolve project | Partially; you still direct the comedic judgment call yourself | Doesn't auto-detect where a laugh should be featured |
| TryUncle | Watches your screen and points at the exact control live, in response to a question | Not applicable; it's a guide, not an auto-editor | Doesn't cut, sync, or mix your special for you |

An auto-cut tool is a reasonable starting point if you want a rough assembly generated for you to refine by hand. If your goal is to genuinely understand DaVinci Resolve's multicam and Fairlight tools well enough that you're not stuck the next time either, that's a different job, and it's worth reaching for whichever resource, free training, a course, a community, or an app that helps you while using DaVinci Resolve, actually matches how you learn best. For a fuller comparison of every AI option in this space, see [the best AI tools to learn DaVinci Resolve](https://tryuncle.com/learn/davinci-resolve/ai-tools-to-learn-davinci-resolve).

## Is DaVinci Resolve Good Enough to Cut a Professional Comedy Special?

Yes, and every tool this guide has covered, multicam sync, the Multicam Viewer, Fairlight's bus routing and VCA groups, node-based color matching, is available in DaVinci Resolve's completely free edition, with no Studio purchase required to cut a full special start to finish. Studio's relevant additions, AI Voice Isolation, Dialogue Leveler, Dolby Atmos mixing, genuinely help with specific messy-audio problems, particularly a comedian's board feed that picked up more room bleed than planned, but they're conveniences on top of a workflow that already works without them, not a requirement to produce a finished, releasable special.

**Guided practice inside Resolve beats watching courses about Resolve**, and a comedy special is exactly the kind of project where that distinction shows up fastest. The genre asks more of an editor's judgment than most multicam formats do, when to hold a laugh, when to cut a heckler bit that didn't land on screen, which night's version of a joke actually plays stronger, and none of that judgment gets built by watching someone else make those calls in a tutorial. It gets built by sitting with your own footage, your own comedian's timing, your own room's laugh, and making the call yourself, over and over, until the timing starts to feel less like counting frames and more like listening to the joke the same way the room did.

That's the honest verdict on this whole workflow. The mechanics, multicam sync, Fairlight buses, color matching across nights, are learnable in an afternoon with this guide open next to Resolve. The judgment about when a room is actually laughing and when it's just quiet takes longer, and it only comes from doing the cut yourself, on your own footage, joke by joke, until you trust your own ear as much as you trust the room's.

## FAQ

### How many cameras do you need to film a stand-up comedy special in DaVinci Resolve?

Three is the working minimum: a wide safety shot covering the whole stage, a tighter shot on the comedian's face and upper body, and a dedicated audience camera for reactions. Professional specials commonly run more. A 2019 Variety piece on Comedy Dynamics describes editors working from seven or eight cameras across two or three shows filmed back to back, giving them options if a joke lands better on a different night.

### Should I sync my comedy special footage by timecode or waveform in DaVinci Resolve?

Waveform, almost always. Few comedy shoots jam-sync timecode across separate camera bodies before a show, but every angle shares the same room audio, the comedian's mic bleeding into every camera and the crowd's laughter hitting every mic at once. That shared sound is exactly what DaVinci Resolve's waveform sync locks onto, and it works regardless of what gear shot which angle.

### How do I cut to audience reactions without killing the laugh in DaVinci Resolve?

Let the punchline finish and the first laugh actually start before you cut to the crowd, then hold that shot for a beat instead of snapping straight back to the comedian. Cutting too early clips the setup's payoff; cutting on top of the laugh's peak steals the room's own reaction from the viewer instead of letting them share it.

### Can I edit a full comedy special using DaVinci Resolve's free version?

Yes. Multicam creation, waveform and timecode sync, the Multicam Viewer, Fairlight's full mixer with buses and VCAs, and color grading are all in the free edition. Studio's relevant extras are AI Voice Isolation, Dialogue Leveler, and Dolby Atmos mixing, genuinely useful for messy audience audio but not required to cut and finish a special.

### How do I stitch together the best version of a joke from two different nights?

Flag both takes with markers as you review each night's footage, then edit the stronger performance into your assembled cut on the timeline, cutting on a natural beat like a breath or a pause rather than mid-sentence. Keep the same camera angle on either side of the stitch when you can, since a same-angle cut hides the splice far better than jumping angles right at the seam.

### What's the best way to learn DaVinci Resolve well enough to edit a comedy special?

Blackmagic's own free training covers the fundamentals, and a course from Casey Faris or a platform like Udemy builds structured skill over weeks. Neither watches your actual multicam timeline while you're stuck on a specific sync or mix problem at 1am before a deadline, which is the gap a screen-watching tool like TryUncle is built to close instead.

### Is there an AI tool that can edit a stand-up comedy special automatically?

Eddie AI can auto-generate a rough multicam cut for a podcast-style recording with angles chosen by who's speaking, and CutAgent can execute editing commands inside your DaVinci Resolve project on macOS. Neither is built for the specific job of cutting to a room's laugh on a comedy timing, which is still a creative call an editor has to make.

### What export settings should I use for a stand-up comedy special?

For YouTube, export at 3840x2160 (4K), 24 or 30fps, H.264 or H.265, in the 35 to 45 Mbps range. For Instagram Reels or TikTok cuts of your best bits, export vertical at 1080x1920, 30fps, H.264, around 10 to 15 Mbps. Shoot and edit in 4K even for a 1080p delivery so you have cropping room for vertical clips later.

## Sources

- [How Comedy Dynamics' High-Tech Editing Helps Fix Snafus With Stand-Up Specials (Variety)](https://variety.com/2019/artisans/production/comedy-dynamics-high-tech-editing-stand-up-specials-1203322716/)
- [How a comedy special gets made (The Outline)](https://theoutline.com/post/1648/how-comedy-specials-get-made-rory-scovel)
- [How to Film Stand Up Comedy (Comedy Houston)](https://comedyhouston.com/how-to-film-stand-up-comedy/)
- [Two Tips For Filming Live Stand-Up Comedy (RODE)](https://rode.com/en-au/about/news-info/two-tips-for-filming-live-stand-up-comedy)
- [Want to Edit Funnier? Let Roger Nygard Show You How (CineMontage)](https://cinemontage.org/want-to-edit-funnier-let-roger-nygard-show-you-how/)
- [How To Edit Comedy (The Comedy Crowd)](https://thecomedycrowd.com/how-to-edit-comedy/)
- [How to prep for taping a special (FunnyHow)](https://funnyhow.substack.com/p/how-to-prep-for-taping-a-special)
- [DaVinci Resolve Manual - Creating and Modifying Multicam Clips (Blackmagic Design, mirrored)](https://www.steakunderwater.com/VFXPedia/__man/Resolve18-6/DaVinciResolve18_Manual_files/part1035.htm)
- [DaVinci Resolve Manual - Multicam Keyboard Controls (Blackmagic Design, mirrored)](https://www.steakunderwater.com/VFXPedia/__man/Resolve18-6/DaVinciResolve18_Manual_files/part1042.htm)
- [DaVinci Resolve Manual - Setting up a Timeline for Multicam Editing (Blackmagic Design, mirrored)](https://www.steakunderwater.com/VFXPedia/__man/Resolve18-6/DaVinciResolve18_Manual_files/part1038.htm)
- [DaVinci Resolve 21 final release (Newsshooter)](https://www.newsshooter.com/2026/06/02/davinci-resolve-21-final-release/)
- [DaVinci Resolve 21.0.3 Update (Newsshooter)](https://www.newsshooter.com/2026/07/21/davinci-resolve-21-0-3-update/)
- [DaVinci Resolve free vs Studio: What's included in each version (Storyblocks)](https://www.storyblocks.com/resources/tutorials/davinci-resolve-free-vs-studio)
- [DaVinci Resolve - Studio (Blackmagic Design)](https://www.blackmagicdesign.com/products/davinciresolve/studio)
- [DaVinci Resolve product page (Blackmagic Design)](https://www.blackmagicdesign.com/products/davinciresolve)
- [Audio Bus in Fairlight Explained (DVResolve.com)](https://dvresolve.com/tutorial/audio-bus-in-fairlight-explained/)
- [Multicam Podcasts / Studio Recordings (Eddie AI Help Center)](https://help.heyeddie.ai/en/articles/10548843-multicam-podcasts-studio-recordings-the-correct-angle-chosen-for-the-correct-speaker)
- [CutAgent - AI Video Editing for DaVinci Resolve](https://www.cutagent.ai/)
- [PremiereCopilot - The AI Copilot for Adobe Premiere Pro](https://www.premierecopilot.com/en)
- [Get Started: Multicam Editing in DaVinci Resolve 18, by Larry Jordan](https://larryjordan.com/articles/get-started-multicam-editing-in-davinci-resolve/)
- [TryUncle](https://tryuncle.com)
- [TryUncle FAQ](https://tryuncle.com/faq)