How to Work with Multiple Videos in Montage

A producer’s guide to sorting separate recordings, multicamera angles and cross-recording stories before using Montage.

The event recap is due Friday. A cloud folder arrives with seven files: two keynote camera angles, an approved keynote composite, three attendee interviews and a product demo. If you upload the folder as one pile, nobody reviewing the results can tell which files are angles, alternatives or separate stories.

Decide first whether each file is a separate recording or a camera angle from the same recording. Use Montage to process separate recordings individually; if files are synchronized angles of one event, build a composite or multicam sequence first, then bring that result into Montage. Multi-video upload is not multi-video storytelling. Software cannot see the delivery agreement in your head.

Start with the decision that changes everything

Ask one question before you upload: Did these files capture the same moment, or different moments?

Your files	Example	Treat them as	First move
Separate recordings	A keynote, a customer interview and a product demo	Three source jobs	Give each recording its own output brief
Synchronized angles	Host camera, guest camera and clean audio from one interview	One multicam production	Sync the angles or create a composite first
Versions or takes	Three attempts at the same product explanation	A selection job	Choose the approved take before production
One story spread across recordings	Interviews from several days of an event	A cross-recording editorial job	Build the narrative with a producer or editor

This classification matters because “multi-video upload” and “multi-video editing” are different capabilities. Montage’s public agency page lists multi-video upload per session and imports by URL, Google Drive or Dropbox.[1] Apple’s multicam workflow, by contrast, requires creating angles, ordering clips within each angle and syncing them to a common point.[2] Adobe similarly starts with clips already imported into a project, followed by an explicit multicamera sequence and synchronization step.[3]

What Montage can do with multiple videos today

For accounts where multi-video upload is available, Montage can take several eligible recordings in one intake session. Keep the files separate enough that each source can be traced, reviewed and approved on its own. Access can depend on rollout and plan entitlement, so use the single-video path if Batch Import does not appear in your workspace.

The current production boundary is important: Montage can produce editable work from individual source recordings, but it does not currently promise to synthesize many recordings into one finished narrative. Multicam assembly is also not the same as batch intake. If your outcome is a five-minute event recap assembled from six sessions, a human producer or editor still owns the cross-recording story.

That boundary makes the workflow clear:

Batch the intake when it saves admin. Bring in the relevant cloud-folder sources together when Batch Import is available.
Keep each recording traceable. Give the keynote, interview and demo separate names and briefs.
Direct one specific result. Ask for one moment or point from each source, not “find everything useful.”
Review each result against its source. Confirm meaning, permission and context before editing style.
Assemble across recordings outside the source job. If several pieces belong in one recap, hand the selected material to the producer or editor responsible for that narrative.

Name files by the decision they support

A folder full of final.mp4, final-2.mp4 and export-new.mp4 creates avoidable review work. Use a naming pattern that tells another person what the file is before they open it:

[event-or-episode]_[speaker-or-source]_[role]_[date-or-take]

For example:

founder-summit_main-stage_keynote_2026-09-18.mp4
founder-summit_customer-1_interview_2026-09-18.mp4
episode-42_guest-camera_angle-b_take-1.mp4
episode-42_program-feed_approved-composite.mp4

The last two names should not enter the same path by accident. The guest-camera file is an angle that needs synchronization. The approved composite is already one editorial source and can move into moment selection.

If you recorded a true multicam session, preserve the information your editor will need. Apple recommends camera-name and camera-angle metadata and notes that shared timecode, or a visible or audible cue, helps synchronize angles.[2] A file name is not a replacement for timecode, but it stops the receiving editor from guessing which track is which.

Give each recording a one-sentence job

“Make clips” is not direction. It transfers every hard decision to the review stage.

A better brief names the audience, the point and the rejection condition:

Keynote: Find the clearest two-minute explanation of why the old process fails. Reject sections that need the opening slides to make sense.
Customer interview: Find one answer that includes the problem, change and evidence in the speaker’s own words. Reject praise without a concrete example.
Product demo: Find the shortest complete sequence that shows the problem, action and visible result. Reject sections where the cursor or on-screen state is unclear.

These briefs do not force the recordings into one story. They give the producer something specific to verify. Choose the approved keynote composite, direct the exact insight you need, inspect the editable result against what was said and shown, then export it or hand it to an editor. Montage can use spoken and visible context from your footage; you keep the final judgment over the claim and cut.

Worked example: seven event files, three deliverables

Imagine an event folder contains:

one two-camera keynote;
one approved program-feed composite of that keynote;
three attendee interviews;
one product demonstration.

The delivery request is one keynote insight, one attendee evidence clip and one product clip. The three attendee interviews are not equally useful:

Interview A: “It was a great event.” Praise, but no evidence.
Interview B: “That process used to take our team two days.” A problem, but no change or result.
Interview C: “We used to reconcile the report by hand. The new workflow gave the sales team the approved numbers before the follow-up call.” Problem, change and evidence in one answer.

Before choosing C, the producer checks that the attendee authorized public use and that the workflow claim can be verified. A complete sentence is not automatically a publishable claim. It still needs permission, a source owner and someone accountable for factual approval.

Do not upload all seven files as interchangeable candidates. Use the approved composite for the keynote. Keep the two raw camera feeds archived for a later multicam repair, not as competing sources. Subject to consent and factual review, choose Interview C because it carries the complete claim; hold A and B rather than asking captions to supply the missing proof. Give the product demo its own visual-proof brief.

The seven files have now become three production inputs:

approved keynote composite → one complete insight;
selected attendee interview → one evidence-bearing answer;
product demo → one visible problem-to-result sequence.

If the final delivery later becomes a single event recap, the producer can combine those approved pieces in an editor. Montage has helped produce source-grounded components without pretending the final narrative was implicit in the folder.

For the interview source, use the same story-first test in How to Edit an Interview Video: preserve what the guest meant before you polish the cut.

Finish each source before combining the story

Once Montage has produced an editable result, inspect it as its own unit. Check that the opening supplies enough context, the ending completes the point and the framing preserves the visual evidence. Correct the transcript before styling captions. Confirm names, claims and permissions against the recording. Then use the current Edit or Export path: make the required changes in Studio, export the video, or hand an editable timeline to the editor.

A useful internal approval note is only three lines:

Source: exact file and speaker or screen shown.
Claim: what the clip says or demonstrates.
Disposition: approved alone, held, or approved as material for a larger edit.

This makes cross-recording assembly safer. An editor can see which pieces are publishable on their own and which are only raw material.

Limitations and troubleshooting

Batch Import is not visible

Multi-video upload is rollout- and entitlement-dependent. Use the normal single-video flow rather than promising a team that a gated control will appear. If the cloud-folder path fails, import one supported source at a time.

The files are camera angles from the same event

Do not treat them as separate stories. Synchronize by timecode, audio or a common cue, then create a multicam sequence or approved composite. Apple and Adobe both document this as an explicit editing step, not a consequence of uploading several files.[2][3]

The story spans several recordings

Keep a producer in charge of the arc. Current Montage output is bounded to editable pieces from source footage; many-recordings-to-one synthesis is not a current public promise.

The folder contains duplicates and old takes

Remove rejected versions before intake, or mark them clearly. Otherwise the review queue will contain several files that appear equally valid even though the team already made the decision.

A clip needs context from another recording

Hold it as source material. Do not hide the missing premise with a caption or title. Either choose a self-contained moment or let the editor build a larger sequence that carries the needed context.

FAQ

Can Montage upload multiple videos at once?

Montage’s public agency page lists multi-video upload per session, with URL, Google Drive and Dropbox intake.[1] Availability can depend on rollout and account entitlement, so use the single-video path if Batch Import is not visible.

Does Montage combine multiple recordings into one video automatically?

Not as a current general promise. Treat separate recordings as separate source jobs. A producer or editor should assemble the cross-recording narrative.

Can Montage edit a multicamera interview?

Prepare the multicam source first. Sync the camera angles in an editor and create an approved composite or sequence; then use that source for moment production. Do not confuse batch upload with angle synchronization.

Should I put every event recording into one project?

Only if the product surface and account setup support that organization and every file still has a clear source job. The safer operating rule is one named output brief per recording, with cross-recording assembly handled separately.

What should I upload from a podcast recorded on separate cameras?

Upload the approved composite when one exists. If you only have raw camera feeds, synchronize and choose the primary audio and angle behavior before using the recording for moment selection.

What is the best first test?

Use three clearly different sources: one approved composite, one standalone interview and one product demonstration. Give each a one-sentence job, produce one candidate from each and verify that reviewers can trace every output back to its source.

Choose one approved composite, one evidence-bearing interview and one demo. Give each one sentence of direction, then produce one reviewable cut from each at montage.app. Use only recordings you are authorized to use, and keep every result traceable to its source.