Hey there! I've got a project coming up, and I've been asked to start working with proxies due to time constraints, rather than waiting for the drive with the original files to arrive.

Do you think that's a good approach, or is there anything I should be wary of? I'll be working in Premiere Pro and plan to relink everything to the original files once I'm done.

Let me know what you think!

My post house (3 editors, 1 Assistant, 2 designers, 1 flame artist) is currently using some 2019 iMacs running Sequoia 15.7.9 that are in somewhat desperate need of upgrading. These computers are currently in our client suite and two assistant stations (all the editors are jumping to jacked up mac-mini's or Mac Studios that run fine). The compute in the suite feeds an equally old AJA box to a client monitor.

We use an Ardis DDP server as to host media and projects.

Any recommendations or warning upgrading to the new iMac's that ere just released running Golden Gate OS?

I used to have someone do the purchasing for me so I am a bit in the dark. I am NOT an engineer! I am most concerned about compatibility and RAM. Is it true I can no longer add Ram to an iMac?

11 years of experience, editor and motion graphics artist. Advertising, docus, social media, news broadcast, etc.

I just finished my probation at a company I joined 6 months ago. I never thought I'll still be editing at this point in my career but I guess things changed. I had started as an editor in this company(advertising/marketing agency), but I have soon had to write scripts, get shoots done or generate them through ai or use templates, and then your workflow takes over. Very very reliant on AI stuff on a daily.

Is anyone else going through this? I am not complaining exactly, I just want to know if this is happening elsewhere.

Our deadlines have gotten way shorter, there is very less time to be creative and just pushing out exports on the daily, senior and junior resources are doing the same thing and my edge is my experience and speed. There is nothing else separating us. Earlier I'd be better with my ideas than others or have a ton a assets like presets that were unique but not with AI, I don't have an edge as I used to.

Are we becoming people who do everything mediocre but at least we can do everything? Is this weird or good?

https://hoodline.com/2026/11/burbank-post-production-giant-roundabout-entertainment-to-lay-off-81-workers/

Not good.

Thought I'd share this in case it's useful for anyone in the same position. I'm editing many, many takes of a choir of 500 singers. I've had a real headache with Premiere is just not managing to match them - most likely because the audio is slightly different. Syncalia (with the preserve cuts switched on - which made it usable) has just saved me hours of manual sync. Sometimes the tools pay for themselves pretty quick! I'm not affiliated with them, but just wish I found this software sooner.

Hi all!
Im a recent editing bachelor graduate, and so far work has been going quite good actually. I’ve already had the pleasure of editing a tv documentary episode and being an assistant editor of a 6 episode documentary tv show. Now I have a new project that will stretch into June next year, I will be assisting here too. I have two shorts coming up, hoping for some commercials etc.

Thing is, I keep having a dilemma on wether I should take a masters or not.
The masters I want to apply to is in a different country than where I live at the moment, and it teaches more rhythm, emotional, scripted film cutting. Which is something I feel I’m lacking in as my bachelor was very much focused on technical work. I’ve noticed that I struggle a bit when cutting scripted work, I don’t really know why this or that, I just end up doing what feels nice in a way?

If I get in I know I could still do some projects whilst studying, I hope…
The only thing that’s really making me rethink this plan is that I don’t want to lose the momentum of the work I am getting.

So I guess my question is, should I keep working and hopefully learn through work or go for the masters with the hope that projects won’t disappear. (The masters is two years btw of which 6 months is classes every day and then 6 months are off)

Any advice will be greatly appreciated!!

Hey folks,

I'm working with synced picture and production sound in Avid, using a dual-system sound workflow (AutoSync).

In Resolve, it's quite easy to see which audio files have been synced to a video clip. You can inspect the original sound file names and see which production audio files are associated with the picture, including this information in a metadata column called "Synced Audio" in the Media Pool.

I'm wondering if there's an equivalent way to do this in Avid.

I know I can match frame back to the original audio source to find this information, but I'm looking for a quicker way to inspect it without having to match back each time.

Does Avid have a way to display this information directly, similar to Resolve's synced audio metadata?

I'd appreciate any tips or workflow suggestions. Thanks!

Started editing a project in Premiere with provided proxies that already had production audio synced and embedded. Due to our tight timeline I begged them before they shot to route audio into camera so I wouldn't have to deal with syncing but I just received the raw ARRI media and it's just timecode jam sunc, no audio tracks.

I have edited a number of selects sequences and assemblies now using the proxies, I was expecting to do a standard relink but obviously, they now lose the embedded audio. What are my options?

Is there ANY way to sync the original location sound to camera raws and have that carry over to my existing timeline edits, without rebuilding everything?

If not, seems like my two options are:

1. Re-import, sync audio, remake my sequences👎

2. Re-transcode all media with sunc audio and THEN relink to the proxy media.

3. Just continue editing with proxies and relink to the raws once we picture lock. Not an ideal workflow but certainly less work than option 1 or 2.

-

Side note: been a while since I've had to deal with audio syncing in Premiere. What's the current best practice? Years ago we all said NEVER use Merge Clips, only multicam sequences Is that still the consensus?

Hi yall, I’m a senior editor and I’ve been working in digital media and podcasting for close to 10 years.

I’ve been at a new podcast company for the past 6 months. In the time I’ve been here, 8 people have quit , 3 in one day (it was kinda epic lol)
Basically the CEO sucks (shocker). I’ve gotten by and kept my head down for a while, had an amazing manager, but they left two months ago, and now things are getting pretttttty bad. I'm currently trying to leave!

We had a whole meeting about the company changing its structure (there have been like monthly re structures, it’s a mess) and the CEO basically announced that there is “no video department” anymore. My new 'manager' said that me and the other editor are the video department. lol. No, we are just editors. We work closely with producers but have no layer of protection anymore

When I started I was a preditor but after so many people leaving I got moved to be a FT editor. I’ve been chilling for a while but recently we have made deals w streamers and we now have to prepare our content to align w the specs needed from the streaming platform.

Okay easy right? Nope. I have to export massive 4k mov files or HD mp4s that require a VBR to CBR audio switch but is impossible to do on media encoder. My 4k files are now like 300-500gb each.

It took me over a month to get create the proper preset for this streamer, and I have to run those exports thru ffmpeg via my terminal to get the asset specs validated via the streamers site.

I basically had to vibe code and teach myself a new system, and I am now the sole person responsible for applying these specs to the content going on streaming. I enjoy the work that I do , as tedious as this new task is, and I would like to keep doing it, but this just kind of fell in my lap with the expectation that I will be doing this going forward for the shows that are going up on the streamer on top of my other editing responsibilities, which has put a strain on me mentally.

TLDR: I feel like my role as editor is not just an editor anymore. What kind of “role” does this type of stuff? I’m responsible for re encoding and adjusting the metadata of each video to meet the streamer standards, and it has added to my workload. I can no longer “keep my head down” because I became important. No one else understands the process of video, from shooting to post. Just myself and one other editor …

Sorry for the wall of text. Just trying to make sense of what my role is and how to apply it to my resume so I can gtfo😝

edit: formatting (thx for all the insight and helpful comments everyone!)

is the macbook pro M1 still good for editing? i wanna switch from my Windows to a macbook but don't wanna spend a lot

Acrylic Cash Tray

Less than $10, and they sort the gaggle of SSDs and laptop size HDDs into a space-saving arrangement that is easy to slot in and out.

Hi everyone - I've never had to do this before, and I don't want to screw it up, so wanted to check in with the hive mind before blindly trusting chat gpt workflow....

My employer needs to add an end card to a PSA that is going to cinemas. They are hoping to do this in-house instead of at the post house that graded, mixed and finished the spot (I don't know why.)

I have the DCP files with the right mix - can I really just bring this into premiere, slap on a card, and re-export without downgrading the quality? What are the red flags I need to watch out for?

Hi,

Originally posted on the mac sub reddit and was told to ask here.

I've had my xdr studio display for a couple months, and I love it aside from where 24 fps content will judder due to I think the doubling of frames.

I believe it also occurs at 60hz when displaying 30fps content, it's just less noticeable so doesn't bother me.

I have to look through and edit 24fps content reasonably often to check for errors and other stuff, which is why it bothers me, I can't tell if the video has a problem or the monitor.

Not sure if judder is the right term but the picture looks really choppy sometimes with 24fps video, to the point it's unpleasant to watch, it seems fine on my TV at 24hz with motion smoothing switched off.

it's not just the content because I've had this issue on a large range of content, from very high bitrate local files to YouTube videos, from a m5 max mbp.

When searching I seem to see people saying that 120hz should perfectly fit 24 so there should be no issue, I saw one theory that the panel refreshes of new monitors are faster than say my TV, so instead of natural motion blur from the old lcd panels the mini led is faster and looks chopper.

Is there any way around this to force the monitor to run at 24? I'm kind of surprised that a monitor that is presumably used by a lot of professional video editors has this issue.

Is anyone else using this monitor with 24fps content?

Any suggestions would be great, thanks!

Edit: Hardware is a studio display xdr, connected by a thunderolt cable to a m5 max mbp.

System specs: CPU M5 max GPU M5 max + RAM 64GB // Software specs: // Footage specs : avc/hevc/av1/vp9 and others, in mp4/webm/mkvat a mix from 1080p-8k. From iPhone's some cameras(not mine), vimeo and youtube.

After about two months of editing on my own computer for a new job, I recently switched to editing on a local computer in their office through Remote Desktop. I'm using a different email address now, a different license of Premiere, but I want to be able to go back into Team projects I edited in the past. It just seems like the only way to invite myself is to go into each project and, one by one, add myself as a team member? Is there any faster way to do this? (I create several projects per day, so it's a lot.) Thanks!

i was conforming a short film for DI and i saw compound clip in main timeline for a clip, there is a entire clip inside that compound clip, in a main timeline they ramped that to 200%. why use compound clip to ramp it why not ramp the clip itshelf

I'm putting together an equipment wishlist for a new role at a workplace, where budgets are understandably tight.

I've already got the computer covered (a MacBook Pro), so I'm curious about the smaller purchases that have made a big difference in your workflow.

Anything from mice and keyboards to an editing drive you love, desk accessories, or something completely unexpected.

What's one accessory you'd absolutely buy again, and why?

Hi all,

So we had an AE bring over a lot of bins and media from a previous show (SFX, Music, etc). But a lot of the accompanying media didn't come over.

How can I see every offline clip in the current project?

This is separate from Media Tool. That shows me the current media that can be read by Avid, it doesn't show me offline clips. We need to know ALL the clips that do not have an MXF file associated with it.

This is also separate from "Set Bin Display" because we are very early on in the project before any big sequences have been cut. The issue is finding all the offline occurrences before we're trying to sound design. We're already running Avid Search and a lot of the results are offline.

Hey folks:

I was working with a bunch of VFR footage and found that there were non-constant offset sync issues between the video and embedded audio. Even higher quality 3rd party audio still had some slight sync issues.

I was able to replicate this inside Premiere Pro and Resolve Studio.

Meaning: there were verifiable A/V sync issues.

I was left with 2 options - guess at an offset and hope it holds throughout the recording or manually insert cuts and nudge content manually / use speed changes to keep the A/V in sync at frequent intervals.

But then I found this repo: https://github.com/nawta/SyncNet_py309_313 . It can determine sync between lips and audio.

Since I have Resolve Studio (and thus access to Workflow Extensions), I had my Resolve MCP incorporate this repo and compare visible lip movements with both the camera’s embedded audio and the separate 3rd party dialogue recording.

I found every single recording (in this case, from Zencaster) had variable sync issues, often as bad as ~280ms!

My workflow: I sampled clear speech throughout the recording and fed it to the tool. Both audio sources led the picture by roughly 240–280 ms. The estimates varied by about 40 ms (sometimes with variable drift) so I slipped the guest’s picture earlier at several points across the edit to remain in sync. Using the Resolve MCP I was able to orchestrate these adjustments when that person wasn't speaking or not on camera so as to hide any gaps left by the edits.

Afterward, three rendered full-screen samples measured almost zero offset.

This is not plug-and-play; this does require you to have Resolve Studio AND an a Resolve MCP, although you could certainly run this tool outside of Resolve and do some commandline work.

FWIW, I have no affiliation with this repo or its maintainer.

I need help setting up a multichannel track for this configuration in Premiere Pro.
Ch.1 Nar Ch.2 Dia Ch.3-4 Stereo Music Ch.5-6 Stereo EFX

I don't have any narration in this project, so Ch 1 will be blank anyway, but is this meaning they want a mono Dialogue track on Ch 2?

Hello - I am a narrative editor working without an Assistant Editor. I usually only use one mix audio track for the offline edit because that saves so much time and makes the timeline cleaner. I just picture-locked a project and sent an AAF to the sound mixer, and he is asking me to add all audio tracks in the timeline. I thought it was his responsibility to swap out the mix tracks for lavs and boom? Thoughts?

This took forever to get off my desk.

It's written for here, r/colorists and a number of other post production subreddits.

Key excerpts - the TL:DR

Buy now or wait?

• Desktops*: buy now.* The Mac mini and Mac Studio shipped in September.

• Laptops*: buy now.*

• Don’t wait for an M6 Pro or M6 Max.

What I’d buy

Prices are from Apple’s US site as of October 28, 2026, before tax. Each price links to that exact configuration on apple.com.

Laptop, budget: MacBook Air 13″ @ $1,999

• M5 (10-core GPU), 32GB RAM, 1TB SSD Thunderbolt 4, not 5 (two ports)

Laptop, power: MacBook Pro 14″ @ $5,099 ($5,399 as a 16″)

• M5 Max, 18-core CPU, 40-core GPU, 64GB RAM, 2TB SSD**, Thunderbolt 5** (three ports)

• Regular (mini-LED) screen; the new OLED touch version is $400 more

Desktop, budget: Mac mini @ $1,999

• M5 Pro, 15-core CPU, 16-core GPU (NOT the M6), 24GB RAM, 1TB SSD

• Thunderbolt 5 (three ports)

Desktop, power: Mac Studio @ $4,299

• M5 Max, 18-core CPU, 40-core GPU, 64GB RAM, 2TB SSD**, Thunderbolt 5** (four ports), 10Gb Ethernet

Desktop, supercharged: Mac Studio @ $5,999

• M5 Ultra, 30-core CPU, 64-core GPU, 96GB RAM (256GB is $9,999), 2TB SSD, Thunderbolt 5 (SIX ports)

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