Multi-Cam Sync Editing

South Korea's broadcast and music scenes drive steady demand for multi-cam work. Mnet music shows mix twenty or more feeds, and KBS and SBS variety shows shoot with rotating handheld and crane spots. The global K-pop concert circuit is caught at venues from Seoul's Olympic Hall to Busan's BEXCO. Our edit planning brings multi-cam editors who grew up inside that pipeline, at ease with high feed counts and mixed camera kits.

They also know the rapid cutting style that Korean entertainment formats call for. We ingest material at sites in the DMC hub, Yeouido, and Mokdong, close to the major TV networks. There we sync against timecode where it is ready and audio waveform where it is not, then check the line-up frame by frame before the creative cut starts.

Standard concert and event projects deliver picture-locked cuts within one to two weeks. Corporate multi-cam material — panels, conferences, and executive interviews shot in Gangnam meeting rooms — mostly locks in three to five days. Editors work across Avid Media Composer, Adobe Premiere Pro, and DaVinci Resolve, based on the downstream finishing path.

Our colour-matching pipeline evens out footage from mixed Sony, ARRI, and RED bodies before angle picks begin. Audio work covers multi-source mixer feeds, lavalier returns, and live FOH captures, with sync checks across each camera. Productions bound for global broadcast or streaming get deliverables made to the right network specs, with separate masters for Korean and overseas areas where contract terms differ.

High feed counts demand a disciplined editorial pipeline. We build grouped multi-cam clips in Avid Media Composer or Adobe Premiere Pro, then keep angle naming and timeline structure consistent across every block. For shows that span several recording days, our editors version each block clearly so nothing drifts out of order. Storage and proxy workflows are set up to play many angles back smoothly, so the creative cut runs without stalls even at twenty or more feeds.

Broadcaster delivery closes the job. Variety and music programmes for KBS, MBC, SBS, and JTBC each carry their own delivery sheet, loudness target, and slate layout. We build the master to the matching channel spec and run a QC pass for sync drift and dropped frames before output. Concert capture bound for streaming on Netflix or Coupang Play gets its own platform master. Multi-cam editing is quoted in Korean Won, with the standard 10% VAT applied to the work.