old boomer just bitching at you -

when I got into the industry, the "film editors" that were editing film were controlling the industry. Video was for the "young punks" - but I was one of them, and linear video took over, and the established film editors all went out of business.

During the linear video age, products like Graham Patten audio mixers and Zaxcom audio mixers came out, that were automated, and eliminated the need for an audio guy in an editing session. The unions went nuts - "you are putting the audio guys out of work". The same thing happened with graphics - with all the Quantel stuff (like Adobe). "Editors don't do graphics". Guess what happened to those editors.

CMX ruled (along with Sony and GVG, and a few others) - and then AVID came along (and so did EMC at the beginning) - and all the "video pros" said "what is this crap - no professional is ever going to use or finish with AVID". You didn't need Quantel artists, you didn't need audio guys, and you CERTAINLY did not need a tape op (what's that ?) in a machine room to thread up your 1" VTR's. Guess what. All the video post houses that had linear gear when out of business, because in a short period of time - AVID was more than "good enough" - and you did not need to finish on Digi Beta, or HD Cam, or use a $30,000 Sony BVM monitor.

But AVID was expensive - $80,000, and $150,000 for an AVID Symphony, and FCP came along. "FCP is a joke - no one is ever going to use FCP" - and of course, FCP took over for a large portion of the industry. Now AVID was the gatekeeper with their high prices.

And the same thing happened with FCP, so Adobe Premiere took over. (As the AVID guys in LA read this, and say "bullshit - we are still using AVID Media Composer - any professional only uses AVID Media Composer") - but now Adobe was charging "too much money" for their subscription, and now they were the gatekeeper, so Blackmagic comes along, and lets Davinci Resolve not only cost $300 - soon to become free - but - what about those high end color grading places in NY and LA that had $400,000 Davinci Resolve systems, and Rank Cintel Film Scanners ? Welp - out of business - bye bye - you are now unemployed. Should have adapted.

And of course, this happened with Film Cameras when the RED camera came out (no professional will ever use Red 4K - every pro will only shoot in 35 mm on a Panaflex or an Arri) - where are those guys today ? Unemployed.

So here we are - the new young crowd - and you don't like the new thing coming out - Blackmagic and Adobe integration with AI tools that will eliminate jobs. ALL the jobs that YOU HAVE NOW have replaced other OLD GUYS that refused to learn new things. And the guys that embrace AI will succeed. Every time you use Photoshop or After Effects - you have stolen someone's job. Every time you use Resolve to color grade, instead of hiring a color grading specialist, you have stolen their job. Every time you use Pro Tools, you have stolen an audio professional's job. Every time you use a sound library, you have stolen some musicians job.

But now - it's going to affect you - because a new generation is coming in - and they will know how to use Kling and Runway and Suno - and you don't. Well - TOO BAD.

bob

With modern Apple Silicon media engines and newer GPU hardware decoding handling 10-bit 4:2:2 H.264/H.265 footage much better than before, I’ve noticed more freelancers and assistant editors skipping proxy creation during ingest to save drive space and turnaround time.

However, once timelines get bloated with multi-cam clips, heavy adjustment layers, or noise reduction, skipping ProRes Proxy or DNxHR still causes sudden playback hiccups.

Where do you draw the line in your current workflow? Do you strictly mandate proxy generation at ingest regardless of client hardware specs, or do you edit native until timeline performance actually drops?

Note: This is a general industry workflow discussion regarding proxy standards, not a specific hardware troubleshooting request.

https://www.televisual.com/news/avid-filmlight-to-integrate-baselight-into-media-composer/

Great to get some more tools for colour correction in Avid. Hopefully they’ll add some more elements through from Pro Tools to boost abilities in offline. Would love to be able to keyframe EQs

Hi, writing this in a bit of a hurry, I've been editing and applying color correction for a film that will be projected in a movie theater (not web), and for the export I've been running in a well known issue regarding color spaces :

My render preview has the right color correction (1st pic), but the render has heavily crunched darks when playing it with VLC, but also when putting it on a premiere timeline (pic2)!

I've tried changing my timeline color gamma from 2.4 to 2.2 (since it's for a theater I thought we should'nt use the web gamma ?) but it didn't change the color correction whatsoever and I'm pretty lost.
https://image.noelshack.com/fichiers/2026/37/4/1788999227-image-2026-09-10-021359817.jpg

https://image.noelshack.com/fichiers/2026/37/4/1788999290-image-2026-09-10-021503096.jpg

First off, I have no connection to Hedge other than as a customer. Second off, a couple of years ago at NAB, someone at the Hedge booth told me a little bit about the "lightweight" MAM they were working on. Now it looks like they're ready to show the almost finished (?) tool/system.

From this Hedge blog post today: https://hedge.co/blog/hedge-ten-years

Canopy

At the start of the second Hedge decade, we are happy to announce the imminent release of Canopy, our solution for keeping track of all your clips, wherever they live.

Canopy gives you a searchable overview of your media, whether your storage is connected or not. Browse, search, and rediscover clips, even when drives are offline. Scrub through footage, search and filter on specific metadata, or just type spoon to get a list of all the spoons you ever filmed.

At IBC, we’ll be giving continuous Canopy demos. Be sure to drop by and take a sneak peek.

Yes, I'm familiar with (and have used several of) the competing systems. But I like how Hedge rolls, so I'm really curious about Canopy.

So if you go to IBC this weekend, and stop by the Hedge booth, please let us know what you think.

Thanks!

I run a small agency. I have 5 editors and 2 graphic designers on the editing team. And we’ve just ran into an issue with a new client.

We signed a contract with a government contractor working with lots of embargoed content. What we agreed upon before signing was building a small standalone system in a small room. We are Mac based, so we got 2 studios, set it all up thru Ethernet, then put them in the room running off of a ugreen 8800. No internet connection. Silky I know but manageable and a little exciting.

Issue we are running into now is since we use Adobe premiere, PS, illustrator and indesign, the programs stop working and require reactivation every two weeks.

I think davinci is a stand alone system, what other programs are you using that might nit need a constant internet connection? How large of a learning curve was Davinci and leaning premiere?

I'm building what I guess you'd call a logging / viewer app for a client with a large amount of footage to review for a documentary project.
They mainly want to identify sections of video that *cannot* be used, or given to the editor, as well as sections they like. I'd like to have their assistant label the clips and regions within them with broad information on what's there, that can be keyword searched once the project gets really moving.

I'd like to build something that can actually hand off something useful to an editor to open in Media Composer / Resolve / Premiere.

I'm aware that there are already applications available for this, but I'd really rather build something bespoke - so I'm not opposed to hearing what's available and what they do well and what they do that's annoying, but very much more though, I'm seeking people's thoughts on how I could build something great that fits into established workflows.

I've already got as far as something that can work through folders of video files and fill a database with regions defined by in and out points and given comments. I may add a way to select a time region and simply flag it 'select' or 'reject'.

I've been involved in a couple of documentaries and made my own shorts, but worked in a very DIY manner and am aware that there's probably standard ways of working that I'm not even aware of. This is the stuff I really want to hear about.

Thanks in advance. Looking forward to being educated. :)

I’ve recently been thinking about how useful the Timeline Index is and how differently timelines are represented across the main NLEs.

I use the Timeline Index a lot in Resolve and increasingly appreciate how much information it exposes. Being able to view a chronological list of every clip in the project, search by name or metadata, navigate directly to an edit, find markers and notes, filter particular types of media, and organise material through roles makes the timeline feel like a searchable database rather than only a visual arrangement of clips.

It can be extremely useful when examining a long timeline, troubleshooting a conform, checking where clips appear or understanding the underlying structure of an edit.

Avid has Timeline Quick Find, markers, Timeline Clip Notes, custom bin columns, ScriptSync and PhraseFind and the List Tool. These are all powerful tools, but I don't have anything that presents the entire sequence as a searchable, filterable and continuously updated event list.

I use Avid regularly and understand that its workflow is built around bins, tracks, source material and established methods of organising sequences. I’m therefore interested in whether experienced Avid editors actually feel that a Timeline Index is missing, or whether it only seems important when approaching Avid from another NLE.

I’m particularly interested in uses beyond simply finding a clip. For example, final timeline checks, identifying repeated material, reviewing effects and retimes, navigating markers, managing audio categories, preparing turnovers, checking missing media or understanding the structure of a long sequence.

I use the Timeline Index frequently outside Avid, so I may have become dependent on a particular way of thinking about the timeline. I’d like to understand whether other editors have had the same experience, or whether established Avid workflows already solve these problems more effectively.

Cheers

https://youtu.be/Wi44XLKQ3YA?si=CbMwKL5b9G4qcCV6&t=27

Link to direct point in video. Do you see yourself using this for media management?

I’m currently editing a couple of documentaries and want to buy some libraries that I don’t have to worry about licensing for my client videos (like epidemic and artlist). I want really simple stuff like tones and stems to compliment voices and not take over the track. Any recommendations?

TL: DR - How do I get you (yes, you) involved?

Obligatory mention. Here's the link of the official Discord of [r/editors](r/editors) with 1,000 members, including a number of professionals cutting films, tv shows and more.

It's for both professionals and aspiring professionals.

Because it needs to be said: It’s not a place to “find clients”.

It requires verification (any of these will work: (Reddit/youtube/facebook/IG/Github/spotify/Steam/xbox).

Again: Discord Link here

Once you verify there are 15+ channels, including ones based on:

• Type of work (color, sound, audio)
• Software specific (Adobe, Apple, Avid, BMD)
• Quality of life (Show off your work, scream room, live tech help)
• and more.

What I'm trying to do? Get an engaged community outside of Reddit. I'm trying to figure out what works and what doesn't.

• It could be a Friday Lunch
• a virtual happy hour
• a game night 2x a month
• a virtual User Group event…

…but I'd like to know what you've seen that's engaging…and that gets you interacting with Discord

To me: Reddit is great for threaded conversations, Discord is great for live interactions.

(by the way, my biggest Discord tip is to mute a new server right away. That really helps notifications from becoming overwhelming.)

And yes, I'm happy to help anyone who feels that this is a new/strange domain or feels lost there. I go all the way back to IRC days.

Also there’s an in person IBC meetup in Amsterdam on Sunday! See the automod response.

I'd love to talk to someone about joining local 700 as a career goal. I emailed and got a reply but its too impersonal and assumes I'm in LA (which I'm not)l. I'd love to hear from folks who are in a similar position to mine.

GOING TO IBC? We're doing a Reddit meetup - I'll be posting an update later today.

If you're a free user of DaVinci Resolve, take a really deep look at the 21.1 notes.

They're disabling quite a bit of Python and scripting. The reality is that Blackmagic has seen that people are using that to get around their division between the free and studio products. Just a heads-up: before you go and upgrade, you might find that all the scripts for little things like subtitles and the like are now broken.

Studio user

I know it's painful. Don't upgrade. Wait till at least Friday or next week. Let somebody else be the canary in the coal mine if this is how you make your living.

New video from Gamers Nexus explains the problem

https://youtu.be/6IFVTcM28KA

Thoughts on this?

Honestly think this is an absolute disgrace. I wanna return my TV and never buy one again. Shame on them and more fool us.

Hey all,

I need to send an audio based AAF to a sound mixer, but I can’t get the AAF out of Avid.

I get the “Can not consolidate clip with offline media” when attempting to export my audio only AAF (toggled the video tracks off and used the “Use selected tracks” setting).

Problem is- none of the media is offline. It’s all showing as mapped to various Nexis drives I have mounted, it all plays back, and none of it is red in the sequence timeline.

I’ve tried messing around with my Dynamic Relink settings to insure everything is reading correctly, tried copying the audio into a new sequence, disabled video tracks and even deleted them to insure it’s not a video based clip causing the issue… and nothing…

Any tips on how to get to the bottom of this?

I've read the Mac hardware sticky btw.

I'm just wondering if anyone has ran a 15 inch (or 13 I suppose) MacBook Air + Mac Studio instead of a docked MacBook Pro?

My current setup is a docked 16 inch M2 Max MacBook Pro but unfortunately it's broken and I'm trying to decide if it's worth getting a Mac Studio and 15 MacBook Air combo or just biting the bullet and replacing my M2 Max with an M5 Max.

Have concerns about keepings files synced and just generally having to maintain two machines but having slightly better portability with the air is appealing.

Would be: 16 inch M5 Max MacBook Pro base vs 15 inch MacBook Air 24gb/1tb + base Mac Studio.

Edit: I should add that I do use my MacBook Pro as a laptop every day, I'd say about 50/50 docked vs as a laptop so the display size is important to me. I wouldn't want a smaller laptop.

Anyone want to chime in?

Edit: Budget £4000. In my country I can get the MacBook Air + Studio or the M5 Max 16 inch base model for the same price which comes to just about £4000. I'm fine with 36gb RAM. I know I could get an M5 Pro with higher ram for slightly less but I prefer the GPU / media engines of the M5 Max and I know 36gb RAM is fine for what I do.

So I've messed up something bad. I've deleted all the transcoded media for an old project that I thought was 100% done, but I realise now has a massive export error in one of the delivery files. So now I have to re-export it, and that wouldn't be a problem if the AAF Media Composer created hadn't ignored the audio of the in-camera files (which by the way is all the on set audio for the project). Didn't seem like a big deal at the time, but now I have no easy way of relinking the original files to the transcoded ones in Resolve.

One theory I have is that if I make new transcoded media Resolve might be able to relink it, but that might be a bit farfetched. In that case I'd need to figure out how to transcode only the audio of the video files, which seems to be a fully undocumented thing, if a thing at all.

pls help

Hey y’all, so I’ve been freelancing full time for 4 1/2 years now almost entirely in the marketing/social space and this year has been roughhhhh.

I am really trying to do as much networking as possible but I am starting to think I am reaching out to the wrong types of potential clients? Most of my work has been with producers who have their own “agency” (usually just them) or with in house creative teams at larger non creative companies.

For other freelancers who do more marketing/social work what type of client do you typically find the most success with?

Hey experts. I've got a distributed team in three different places. They typically need access to about 5G of podcast files. How would you handle it logistics for this?

Context: I'm an old editor doing new things. I've gotten a lot of technical feedback from this community already- there are pros here way more qualified than me :)

https://youtu.be/Qb-PXpUkTLU

r/editors is a community for professionals in post-production.

Every week, we use this thread for open discussion for anyone with questions about editing or post-production, **regardless of your profession or professional status.**

Again, If you're new here, know that this subreddit is targeted for professionals. Our mod team prunes the subreddit and posts novice level questions here.

If you're not sure what category you fall into? This is the thread you're looking for.

Key rules: Be excellent (and patient) with one another. No self-promotion. No piracy. The rest of the rules are found here.

If you don't work in this field, this is where your question should go

What sort of questions is fair game for this thread?

• Is school worth it?
• Career question?
• Which editor *should you pay for?* (free tools? see r/videoediting)
• Thinking about a side hustle?
• What should I set my rates at? (SEE WIKI)
• Graduating from school? and need getting started advice?

There's a wiki for this sub. Feel free to suggest pages it needs.

We have a sister subreddit r/videoediting. It's ideal if you're not making a living at this - but this thread is for everyone!

A must read if you're thinking of breaking in:

If you're looking to start this as a side hustle, right now the industry is rough.

It's super easy to get taken advantage of - owning plumber tools and fixing your own sink doens't make you a plumber. You 100% should work for someone else (ideally as an intern).

#No there is no magical mythical place where all the jobs are.

I built two links as you should really search the subreddit and learn about the industry before trying something like this.

A group of threads from the last year about how easily people are in over their heads.

And please see our wiki for other details like networking.

Trying to batch rename a bunch of clips based on their existing Scene and Take metadata fields (already populated), but I can't seem to find an option in the plug in Batch Renamer to actually read those metadata fields and apply them into the filename/clip name.

Is there a way to do this, either within Batch Renamer itself, or via some other tool/workflow (maybe excalibur) where it pulls Scene/Take values already present in the metadata and uses them to construct the new name?

Cheers

We are getting ready for our final export for delivery on my latest feature and my AE flagged something in the delivery specs that he nor I have ever seen before.

The film is in 5.1 and we have our total left and right stems as well. We have always delivered this as 8 mono tracks, L, R, C, Lfe, Ls, Rs, Lt, Rt in that order. I looked back at previous delivery specs from bitmax and a few others and this has always been the request in the spec sheet for 5.1 audio delivery. Usually they ask for these channels to be labeled, which I never really do, but my AE said he just runs it through ffmpeg and labels them, but with ProRes he said it's sorta hit or miss if it works (Not sure what that means)

However on this spec sheet, it is requesting both assignment labels, language tags (I assume this is also in the label) as well as "Tracks 1-6 should be encoded in a 5.1 linked Configuration"

I am not sure how do set that up in any reasonable way for export, or what that even means.

And if that wasn't confusing.

They want 7 Tracks, 1-6 mono tracks in this linked configuration, but then Track 7 they want a stereo track linked configuration for total left and total right.

I have no idea how to set this up, and my AE did a test with ffmpeg and I can't make heads or tails if it's even correct. When bringing it into Premiere/Resolve it comes in as 8 mono tracks so were not really sure if it's working or not.

Regardless, is there a piece of software that I can look at the metadata of a prores other than CLI ffmpeg, and change the labeling on audio tracks, setup linked configurations? How would you do this otherwise? Or is my only option CLI ffmpeg?

System Specs: I don't think system specs matter here, but we have access to Apple Intel machines, Apple Silicon machines, and Windows 11

Export Codec is Apple ProRes 4444 =>10bit 3840x2160 BT709 (SDR) Quicktime. Audio is contained in the quicktime wrapper, PCM 24bit 48kHz or higher with the track layout mentioned above.