From your camera
to your first cut.

3. Save a Final Cut setup on Mac

The Final Cut Pro panel groups your project name and XML save buttons.

1. Leave Use video filename checked to use the source name. Uncheck it to type your own project name. Click or hover over the automatic name for a reminder.
2. Keep Append details checked to add details such as “4 angles - Landscape 16x9 - 4K.” Uncheck it for your name alone.
3. Click Save & Open in Final Cut…. Choose a location and save the XML file. To overwrite an existing XML, choose Replace when macOS asks. Final Cut Pro then opens it for import.

For manual import, use Save XML…, then choose File → Import → XML… in Final Cut Pro. Both buttons save an XML file, not a rendered video. The shortcuts are ⌘S for Save XML and ⇧⌘S for Save & Open in Final Cut.

4. Cut between your angles in Final Cut

1. Complete the XML import in Final Cut Pro and open the prepared project whose name ends in — Edit.
2. Show the angle viewer using View → Show in Viewer → Angles (or Shift–Command–7).
3. Select video-only switching in the angle viewer. When source audio exists, the imported project already supplies it as a continuous connected audio clip.
4. Start playback. Press 1, 2, 3, or 4 to cut to that angle. A three-angle setup uses keys 1–3. If you use a custom Final Cut command set, check its multicam shortcuts.
5. Refine the cuts, add your titles and sound, then export your finished video from Final Cut.

Dragging previews or changing framing controls does not record camera movement or cuts. The XML uses your final framing for the whole recording. Preview position, mute, and gridlines do not change the export.

If playback is choppy in Final Cut

Large 360° files can be demanding during multicam playback. In Final Cut, select the source clip in the browser, choose File → Transcode Media…, and create ProRes Proxy media at 50% as a starting point. In the viewer’s View menu, choose Proxy Preferred for playback. If needed, try a smaller proxy size.

Before reporting slow Final Cut playback: confirm proxy generation is complete and Proxy Preferred is selected. Let any background rendering finish, then replay the same short section with other demanding work paused.

Before exporting the finished video, switch back to Optimized/Original. Choosing HD in AngleSelect changes the project dimensions; it does not create proxy media.

For more detail, see Apple’s guides to cutting and switching angles and creating optimized and proxy media.

Keep an HDR recording in HDR

For supported HDR footage, AngleSelect prepares the multicam, angle clips and project in the source’s Rec.2020 HLG or PQ color space. Import into a Wide Gamut HDR library: select the library, open its Inspector, and choose Modify beside Color Processing. The prepared clips keep Color Conform off so nested views retain their HDR picture values. Keep those settings unless you intentionally want to convert the picture. Check the project color space and finished picture before exporting.

Share using an HDR-capable format such as 10-bit ProRes with the project’s HLG or PQ color space. This is standard HDR output; AngleSelect does not author Dolby Vision metadata. Apple explains wide-gamut HDR library and project settings.

3. Save a Premiere Pro project

1. On Mac, in the Premiere Pro export panel, leave Use video filename checked or uncheck it to name your project. Append details adds the angle count, format, and output size.
2. On Windows, leave Use video filename checked to use the source name, or uncheck it to enter your own. Append details adds the angle count, format, and HD or 4K. Both choices and your custom name are remembered; names saved by older versions are preserved.
3. Click Save & Open in Premiere… and save the .prproj file. This creates a native Premiere project with one shared original recording, fixed reframing for each view, and continuous source audio when present. It does not render individual angle videos.

For manual opening, use Save Project…, then open that project in Premiere. Keep the source recording and its drive available; relink it in Premiere if you move it. Saving another setup from AngleSelect creates a new project and does not keep cuts from a previous edit.

Choose your default editor in Settings; a remembered session reopens in the editor you last used. Existing Final Cut framing stays separate.

For GoPro 4K portrait, keep the prepared GoPro and Motion effects in their original order. Their paired rotations create the portrait frame; resetting Motion changes the framing.

4. Cut between your angles in Premiere

1. Open the prepared sequence ending in — Edit.
2. Enable Multi-Camera View in the Program Monitor. If its button is missing, use the monitor’s Button Editor (+) to add Toggle Multi-Camera View.
3. Play the sequence and use the camera thumbnails or number keys 1–3 or 1–4 to cut between views. Keep the continuous audio track below the video.
4. Refine the cuts, add titles and sound, and export your finished movie from Premiere.

AngleSelect exports fixed framing for the whole recording. Dragging previews does not record camera moves or cuts. Your edits happen in Premiere.

See Adobe’s guide to editing a multi-camera sequence for the monitor controls and camera shortcuts.

Keep audio continuous: switch only the video camera, leaving the source audio beneath it intact. Check a short finished export before rendering a long edit. Our Premiere 26.5.2 tests found a small AAC audio delay that also appeared without AngleSelect; a native WAV control stayed aligned. If precise sync matters, compare a PCM/WAV export in your editor. See the measured coverage.

Make Premiere playback smoother

1. Select the original recording in the Project panel. Right-click and choose Proxy → Create Proxies.
2. Use Half frame size and a QuickTime ProRes Proxy preset as a starting point. Keep the full 360° panorama and its 2:1 shape. Let Adobe Media Encoder finish and confirm the proxy is attached in Premiere.
3. Add Toggle Proxies using the Program Monitor’s Button Editor (+), then enable it for editing. Try Half playback resolution if needed. All views still refer to the shared original. Compare a paused frame with proxies on and off. If the framing changes, leave proxies off and use reduced playback resolution.

See Adobe’s proxy creation steps. Creating proxies takes time and disk space; it does not render four finished angle videos.

Before reporting slow Premiere playback: let Adobe Media Encoder finish, confirm the proxy is attached and Toggle Proxies is on, then try Half playback resolution. Pause other demanding work and compare the same short section.

Before exporting from Premiere

Turn off Toggle Proxies and confirm the full-resolution original is online. In Export settings, leave Use Proxies off. Keep the prepared sequence dimensions and frame rate. For SDR, export Rec.709. For supported HDR, keep the sequence and export in the matching Rec.2100 HLG or PQ color space; use a 10-bit format such as QuickTime → Apple ProRes 422, enable Render at Maximum Depth, and enable audio. An H.264/Rec.709 preset converts the result to SDR. Dolby Vision 8.4 sources produce standard HLG HDR without Dolby Vision metadata. Test a short export with picture and audio before rendering the full edit.

3. Save a Resolve Studio setup

Saving another setup creates a new project and does not carry over earlier cuts. If import stops, the error identifies the step and leaves the separate partial project available for inspection.

Make Resolve playback smoother

Half timeline playback resolution is also available on Windows under Playback → Timeline Playback Resolution. It reduces processing during editing; it does not create a proxy. Performance depends on your computer, footage and other running work. Try a short section first, and let proxy generation finish before comparing playback.

Before reporting slow Resolve playback: confirm the proxy is linked, Prefer Proxies is selected and timeline playback resolution is Half. Pause other demanding work and replay a short section. Render cache is optional; if enabled, wait for it to finish rebuilding after framing changes. Proxies do not cache the reframe effect.

4. Cut between angles in Resolve

1. Open the prepared edit timeline on Resolve’s Edit page.
2. In Resolve Studio 21, choose Multicam using the control below the right viewer. The angle viewer appears on the left. Choose a 2×2 grid there.
3. Choose Edit → Multicam → Video Only, then play and click an angle to cut to it. Keep the separate source-audio track continuous.
4. Refine your cuts, add titles and sound, and save the project normally.

Before exporting the finished video

1. Set Playback → Timeline Playback Resolution → Full.
2. Set Playback → Proxy Handling → Prefer Camera Originals. Keep your original video and its drive connected.
3. Save, close and reopen the project. This refreshes the effect after reduced-resolution editing and cleared reduced-size output in our Mac test.
4. In Deliver, turn off Use proxy media, Use optimized media and Use render cached images. Queue a new render job.

For an HDR finish, use an HDR-capable export format and retain the project’s HLG or PQ color settings. Use a 10-bit format such as ProRes 422 on Mac, or DNxHR HQX or HEVC Main10 on Windows. Supported Dolby Vision 8.4 footage stays HDR through its HLG picture; Dolby Vision metadata is not included. Check a short finished export before rendering a long recording.

Proxies, render cache and disk space

• Original: your full-quality stitched recording. Keep it connected for the final export.
• Proxy: a smaller, easier-to-play copy of the whole panorama. Your angles share it. Generating it does not change the original, and a proxy is not a finished angle video.
• Playback resolution: asks the editor to do less work while you edit. It is separate from proxy generation.
• Render cache: temporary pictures after effects and framing. Changing an angle can make that cache out of date, so let it rebuild or remove the affected generated cache before comparing results.

Choose a drive with free space before generating media. Long 360° recordings and ProRes copies can use many gigabytes. Keep proxy/cache folders separate from originals, and try a short clip first.

In Resolve, check Project Settings → Master Settings → Working Folders for proxy and cache locations. The Mac helper starts with render cache off; this keeps the initial comparison simple. If you enable cache later, wait for the timeline cache indicators to finish before judging playback. Use Resolve’s Playback → Delete Render Cache menu to remove generated cache. Before deleting a proxy file, unlink it from the source in the Media Pool and confirm the camera original is online.

Premiere’s Create Proxies dialog lets you place proxies beside the original in a Proxy folder or choose another folder. Wait until Media Encoder has finished and Premiere shows the attached proxy. Before removing proxy files, use Proxy → Detach Proxies on the source and confirm the full-resolution recording is online. Preview/render files can be rebuilt after an effect or framing change.

Final Cut’s library storage settings choose where generated media is kept. Wait for Background Tasks to finish transcoding or rendering. Use File → Delete Generated Library Files to remove generated proxy, optimized or render media when needed; select only the generated files you intend to remove.

Delete only generated media you can recreate. Keep original recordings, AngleSelect setup files, editor projects and backups. Return to the original-media settings in your editor’s export steps above before rendering the final movie.

Export separate flat videos

On Mac or Windows, click Export Videos… in the Individual videos panel. Select your views and choose a folder. Each view becomes a full-length, high-quality MOV with its current framing and source audio. The current playhead position does not trim the export.

Bit depth and HDR are detected automatically. The chooser shows the detected source, output codec and estimated size. There are no bit-depth or HDR settings to configure. Video is re-encoded after reframing. Source audio stays attached without another lossy audio encode.

Which video format is used?

MOV is the file type; H.264 and ProRes 422 are video codecs inside it. AngleSelect chooses the codec automatically from your source:

ProRes exports are 10-bit on both Mac and Windows. Sources above 10-bit are reduced to 10-bit when exported. AngleSelect keeps the original source unchanged. See Apple’s ProRes overview for more about ProRes 422.

HEVC/H.265 can be used in a supported stitched source, but AngleSelect does not offer HEVC or MP4 flat-video output. If you need those delivery formats, export them from your video editor after editing.

ProRes Proxy / ProRes 422 Proxy is a smaller editing copy created in your editor to improve playback. It is separate from AngleSelect’s full-quality MOV exports. Follow your editor’s guide above to return to original media before the final export.

Saving an editor project is different from Export Videos. A Final Cut, Premiere or Resolve setup references your original stitched video and keeps the views available for editing. Export Videos renders each view into a separate flat MOV with its framing baked in; no editor or reframe plugin is needed.

The chooser shows an estimated size per video and for all selected views. Actual compressed sizes vary with the footage. As a guide, one 4K30 view is about 373 MB per minute with H.264 or 4.4 GB per minute with ProRes 422, before audio and overhead. ProRes is an editing format and uses more space. Allow extra temporary disk space.

Landscape outputs are 1920 × 1080 in HD or 3840 × 2160 in 4K. Portrait outputs are 1080 × 1920 in HD or 2160 × 3840 in 4K. Editor projects and flat videos use these same dimensions; saving individual MOVs does not require a plugin.

Large 360° videos can take hours to export. More views and 4K take longer and use more disk space. Try a short clip first. Cancelling removes unfinished output; existing files are not replaced. Completed Windows MOVs remain saved when a later view is cancelled.

See the shared format FAQ for supported sources. HDR10 color and mastering metadata are retained when present. Supported Dolby Vision 8.4 footage exports as standard 10-bit HLG HDR on Mac and Windows. Your export stays HDR; Dolby Vision metadata is not included.

Closing the main window quits AngleSelect. During an export, choose Keep Exporting or Stop Export and Quit. Stopping waits for unfinished-file cleanup; an export or cleanup error leaves the app open. Closing the Windows export progress window cancels the export without quitting the workspace.

Flat-video exports run at a lower scheduling priority to leave more room for foreground work. Windows also limits decoding, filtering, and encoding workers and exports one view at a time. Exports still use CPU, graphics, and disk resources, so demanding work can slow down while an export runs.