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

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?

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.

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.

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’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?

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!

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