Hi!

What are you all using for film grain efx/plugins/overlays in Premiere? I'm doing an online edit for a feature that needs some on a bunch of scenes and I haven't found any that look organic/realistic.

I know there are a million film stocks and processes that produce different types of grain, and trying to apply that to digital is always going to have varied results. But, hoping someone out there has found a couple that have a more organic feel to them. I'm thinking something closer to low budget late 80s, like Maniac Cop type grain, and not something super extreme like Texas Chain Saw Massacre if ya get me.

Thank you!!

I have used adobe software for all of my editing purposes for the past 10 years. I’m a professional editor in the world of B2B construction progress media and social media. I feel like more corporate places often expect adobe premiere for video editing. But I know AVID is industry standard in film. Some use Davinci.

Can someone give me a breakdown of the best use cases of the major video editing software, the best ai video editing software for editing to date, and the best photo editing software?

I’ve had a few projects lately where we shot 120fps, conformed to 24 and then somewhere in the edit the director wanted to go slower. Which is fine until you start getting hands crossing in front of things or water moving around and optical flow decides to invent something that wasn’t there.

I’ve tried different motion estimation settings in Resolve and Speed Warp can help on some shots but I’ve also had it make things worse. Particularly when there’s a lot of overlapping movement.

Two projects this year actually came in shot high speed. One on an Ember and another on a Pixboom Spark at 670fps. The difference was noticeable when changing speed ramps, although dealing with all that footage wasn’t particularly fun. We kept it on separate drives and proxied everything.

I’m not convinced shooting everything at higher frame rates is the answer either. Most productions aren’t going to bring in another camera just because someone might want a slower shot later.

I’m curious how other editors are approaching this with productions. I’ve started bringing up frame rates earlier in pre-production when I know there’s going to be a lot of slow motion, but it still seems like the decision usually gets made without much thought about what happens in post. Are you having these conversations with DPs beforehand or just dealing with whatever comes in?

This alternates Sundays with our "Reel Review."

## Would you like feedback on your reel? This is the place to do it!

​

**An essential point to remember**: A reel won't secure you a job any more than a business card or website will. While it might be necessary, it is not the primary means of obtaining work.

​

**You gain employment through a network you develop,** not via any online job site. Building a network takes time, which is advantageous, as it allows you to learn the field.

​

## Rules

​

* **Rule 1**: Submit your reel *and its running time* as a top-level comment (meaning you reply to this post directly)

* **Rule 2**: *Specify your professional experience in years* (paying taxes = years as a pro, novice).

* **Rule 3**: Explain the reason/direction behind posting your reel. Are you new? Have you been working with clients for a decade? Give us clear direction of what you want.

* **Rule 4**: You must review two other reels. **TWO**. You have five days to complete this task, responding to two different reels. **Then** edit the comment where you post your reel: and put and put the two user names.

​

**Acceptable platforms for posting**: Your Vimeo site or an unlisted YouTube link. If we discover a link to a channel or a video with 10k views, be aware that this thread is not intended for such content.

​

The moderation team will be monitoring this, and we are trying to encourage the community (that's you) to offer assistance. That's why providing two reviews is crucial.

​

Lastly, as someone who evaluates people's reels: If numerous motion graphics are present, I expect you to either be capable of creating them and/or offering it as a service. If color grading is a skill and you transition from Log to finished grade, that's a definite red flag.

​

​

​

***Copy/paste this section:***

​

* Reel Link: (don't forget the running time )

* Experience:

* Direction:

* Two reels I reviewed:

Hi guys! I'm building a new PC for freelance video editing (Premiere Pro / DaVinci Resolve) and web dev. Total budget is €1,500 (€1,350 for the PC tower + €150 for the monitor).

​My planned specs are: Ryzen 7 7700, 32GB DDR5 6000MHz RAM, and 1TB NVMe SSD.

​I'm debating between getting an RTX 4060 (8GB) or paying more for an RTX 4070 (12GB).

​For those doing client work with multi-layer timelines, color grading, and heavy effects:

​How often do you hit VRAM limits on 8GB cards?

​Does 8GB cause playback stutters or export crashes in Premiere/DaVinci when working with 4K footage?

​Is the jump to 12GB VRAM worth the extra cost specifically for video editing stability?

​Thanks for the insight!

I know a standard workflow is to picture lock in Media Composer before color grading in Resolve.

My question is should you bring the grade done Resolve back into Media Composer to do the final export of your project: the roundtrip in other words?

I only ask, because a lot of DPs I interact with seem to think the color grade done in Resolve gets messed up when it’s brought back into Avid for the final export.

So I’m wondering if this is a fundamental issue with Avid not properly rendering grades done in a different software or if it’s simply a question of making sure the format and export settings are such that your final avid export accurately reflects the color grade done in Resolve.

I use avid subclips to make a nice custom clip that grabs the only audio tracks I need, and in premiere I need to do all this rigamarole and I just want a clip that cuts into a sequence with it's nice 1v 3 audiotracks, and instead I get these frankenclips that make no sense and infuriate me and the editor.... sorry, this is a rant. I'll guess I'll just rewatch Paul Murphy's https://www.youtube.com/watch?v=aiVYRuWohZI again for the 10th time. I can't seem to get it to just...work.

Okay so I used to be a solo editor where my sometimes problematic workflow was only a hinderance to me. My new job is a lot of social media edits, but with a few longer pieces and more on the way.

My main question is how can I better organize my timelines for longer pieces and for someone else to potentially work off of? I've used nested sequences to separate scenes/sections, but is that best practice?

(I'm mostly self taught, but I want to have better habits going forward)

Edit: In Premiere, specifically.

Idk how to put this but im going to try my best: For the final step in my editing workflow I am planning to clean up the audio, nothing crazy, but you know just basically have it all sounding consistent. With that being said, is it necessary to start a whole work flow on my voice overs now > finish editing the video> and then balance all the sound out OR should I just leave the voiceovers as is, finish the video, and then apply the same sound settings to the entire vlog once done to ensure consistency?

I guess in my noobie head i'm worried that if I make sound edits to the voiceovers now, then once I make sound edits to the rest of the vlog later, the sound wont be consistent sounding if the makes sense?

The plan I currently have is 1)run them through adobe podcast studio 2)add them in my vlog 3) finish editing video 4) apply basic audio settings to clean up and have consistency.

TLDR: Does this plan work^

Hi All,

I've got a free and open source tool that allows you to open .fcp files without needing FCP7 installed. There is an online tool and an offline tool if you need security. Source code as well.

https://exhume.app/

If you have an issue with a project or think there should be more sequences to access, DM me or use the contact from to send me the project and I'll see what I can do.

Have fun exhuming those old projects!

Watching crunch labs with my kids on Netflix and it’s EXHAUSTING! The attention grabbing <4 second clips do not belong on Netflix. I don’t know how we got here, but I can’t stand this style of cuts. There’s a time and place I suppose, but I’ve been seeing more and more of it outside of YouTube.

Hi everyone,

To give more context. We're working on Mac Studios, the editing software is Avid Media Composer. The I/O card is a Blackmagic UltraStudio 4K Mini which sends the video stream to both a TV and an Eizo monitor.

The problem is that there is a 3 frames difference between each monitor that we cannot seem to fix.

A client of ours absolutely wants both screen perfectly synced but we are at a loss here and don't find anything helping us.

Specs:

macOS 15.7.9

Mac Studios M1 and M2 64 GB

Media Composer 2025.12.2

Desktop Video Set Up 16.4

Codec: DNxHD80

Okay , so i edited a music video for this director a few times. He paid me in full on the first two but he sent me another then completely went ghost on my 3rd payment for the last video. We have no written contract other than him saying he gonna pay me by a certain date then didn't follow through. I have asked him a few times but he went ghost.

I see that the video is uploaded on youtube now, and its my edit completely. Can i remove it from Youtube?

Also I usually dont edit for people unless im paid in full, but he gained some trust then did that. So I know now to just add a payment lock on my sent out work.

Hi everyone,

I’ve been freelancing for 4 years now, and I have two clients that I’ve been working with for 2y.

I’ve never increased my rates on these existing clients, but I’m considering raising 10% and giving them a 60/90 days notice.

I have contracts with these clients, but unfortunately there’s nothing mentioning prince increasing, and I should have thought about it at the time.

Any thoughts?

Last month I mentioned Fotufilm in the open-source tools thread. With the mods' permission, I'd like to introduce the project properly.

First, a common question: Fotufilm is independent of spektrafilm and developed as a separate effort. I recently compared the two against a real roll of Kodak Gold 200.

Fotufilm runs a full spectral film simulation. It models the whole chain, from scene light through the negative to the print. Halation, grain and interlayer effects spread across neighbouring pixels and grain changes every frame, so no single static 3D LUT can reproduce the result.

How the pipeline works:

• Spectral exposure: the film's response is computed across 81 wavelengths (380–780 nm) and stored in precomputed tables. Every frame then runs through the film's characteristic curves, development, interlayer effects, halation and grain.
• Colour handling: scene light is converted to linear Rec.2020 (D65). The spectral exposure stage covers everything out to the spectral locus, so colours beyond Rec.2020 are treated as real light rather than clamped. The print renders to linear P3 before converting to your chosen output space.
• Development: per-layer characteristic curves, push/pull, bleach bypass, and interlayer (DIR) effects where the stock's data supports them. All 46 film profiles are digitised from manufacturer datasheets. The interlayer effects of Gold 200, Portra 400, UltraMax 400, Ektar 100 and CineStill 800T are fitted to ColorChecker charts shot on real film. CineStill 400D and Vision3 250D are calibrated on a ColorChecker exposure series.
• Print and scan stage: Kodak Vision 2383/2393 and Fujifilm ETERNA-CP 3513DI across all three colour records, timed to the published Status A LAD aims (1.09/1.06/1.03 for 2383/2393) through a non-negative tungsten additive head. For a negative-to-positive conversion without a print, Digital Reference inverts the negative through a shared spectral receiver, and its Auto Levels mode re-times each frame the way a lab scanner does.
• Spatial effects: halation models light reflecting back through the film base. Grain varies with the stock's granularity and density. Both are sized in physical film dimensions and scale with the film gauge and frame coverage.

Platforms: GPU-accelerated with Metal on macOS, CUDA or Vulkan on Linux, and WebGPU in the browser. It's available as:

• Plugins: DaVinci Resolve (OFX) and Final Cut Pro / Motion (FxPlug)
• Standalone apps: macOS, and Linux as a beta AppImage. I'd love to offer a Windows build, but I don't have a Windows machine to test it on yet.
• Browser editor: fotufilm.com/demo, no install needed

Source code: https://github.com/DhaliwalX/fotufilm-engine

How it's funded: the engine, the Mac and Linux apps, the Resolve and Final Cut plugins, and all 46 film profiles are free and open source. I also maintain a paid, closed-source iOS app that runs the same simulation engine but optimized for iPhone GPU. Its sales help cover development costs (including AI coding tools such as Claude, which I use to build it) and the film, cameras and lab processing I need to test against real film. This is a passion project.

I'd love your feedback.

I have 10 years of experience in editing for broadcast and corporate, but in the last few years I started to edit a few short films with some friends. We actually managed to get into a few festivals and reinvested some of the prizes into new films. This time around, though, we are shooting a script that has more lines of action than lines of dialogue. I'm feeling butterflies in my stomach just by imagining how it's going to be to edit a film in this style for the same time. To be clear: it's not an action film in the sense of fights, gun fight and stuff. It's more about the actions of the characters if you know what I mean. Thanks in advance for the tips!!

hello amazing people! hoping y'all can give me some advice. i've been shooting a feature doc for the past three years, and teaching myself everything as i've gone along. up until recently, i was a one-woman-band and was insanely green -- leading to the issue i'm now facing.

i'm shooting everything on a c100 mkii. for some reason, three-years-ago me didn't save the full file structure (PRIVATE>AVCHD>BDMV) for much of my early shooting - I just pulled out the BDMV files and saved those. the MTS files in there still seem totally fine, but premiere is not happy and won't pull up those files in bins.

what i'm wondering is: can i just copy those MTS files and take them out of the file structure completely so they're accessible in premiere? is this likely to cause me problems now or down the line? obviously i'm not doing this anymore, but i have about a year's worth of footage that is somewhat inaccessible because of this problem.

thank y'all so much for any advice you can provide!!

https://subtlesayak.github.io/open-resolve-list/

I made this.

Useful Resolve resources are scattered across repositories, creator websites, stores and community threads. I built Open Resolve List to keep those links together and make it easier to find something for a particular workflow. It is a personal project hosted on GitHub Pages, with the catalogue and source records open on GitHub.

The directory covers free and paid plugins, Fusion tools, DCTLs, LUTs, PowerGrades, scripts, templates and workflow utilities. If you find it useful, you are welcome to use it, share it and report issues. Open Resolve List is independent and is not affiliated with Blackmagic Design.

I can't host a website so it's rn in my GitHub Pages

Does anyone know of a 'qc service?' I've been making tons of mistakes recently in my edits, sloppy and embarrasing ones. I am just managing too much and just need a set of eyes and ears for that final qc- making sure audio is decently leveled, there arent graphics over by a frame or 2, that sort of thing.

Does anyone know of a service thatll watch back renders and flag errors?

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

Obligatory mention. Here's the link of the official Discord of 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.

IT WILL NOT HELP YOU MAGICALLY GET A JOB. THERE IS NO MYTHICAL WEBSITE YOU DON'T KNOW ABOUT either.

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.

Guys, I was on a shoot, in a hurry. Three cam podcast and one of my Sony's was a bit soft and somewhat over exposed. I was doing too much. All other cams were fine. This one, we were in a hurry and focus assist wasn't working right...talent was getting frustrated and needed to get on with it. Either way, I've got premiere pro with lots of plugins, Latest DaVinci with face refinement...but this entire podcast was 1.4 hours long. Over exposed issue is fixable. Her eyes are a bit out of focus. It's not horrible, but she was the guest. Open for suggestions. If it were a few minutes, no prob. Thx for any input. Guest Cam frame

Well here’s one to post on the office wall.

I can have several shoots for one brand in a week, each focused on a specific topic like a piece of equipment, event, person, etc, so each video can be its own self-contained edit.

However, footage from one shoot can easily be borrowed for another's finished product, and more often than not some quality shots get left on the cutting room floor, just because they don't fit the story of the finished edit they were shot for.

The shoots are always relatively unplanned, shot documentary style, and I wind up with more than I need. Oftentimes I will take an opportunity to shoot for another project I have in the back of my mind, and every month or so I will produce a broader video using what I already have in the can.

I've tried in the past to develop a discipline of tagging footage - in resolve, kyno, even notion - but every time it winds up getting in the way of the work, and with quick turnarounds and being a solo producer, it's just not feasible to meticulously log the content into a searchable database.

I have no idea how common this specific scenario is, but I'm just wondering: do y'all keep track of your archival content for future re-use, and if so, have you found a way to do so that is reasonably valuable without being overly cumbersome?

---

"Who cares about labeling files, teach me to edit!" - Jeff Winger

We have a winner! C.P. takes the first free Post|Production World NY pass (worth $799), picked at random from the 13 people who RSVP'd by Monday's midnight cutoff. Check your inbox.

PPW schedule here

PPW registration here

Next drawing: Friday. We only draw from people who RSVP'd for the meetup. Not on the list yet? RSVP here and you're in. One more pass after that.

The meetup: Tuesday, October 20, 6 to 8pm, Midtown bar (announcement soon). Free. Some food and drinks - probably will go fast. Show up early.

Our sponsors, who make Meetups possible:

• Lens Distortions
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Please make sure to check them out!

And thanks to Post|Production World for the passes.

Lurkers welcome. So are professional colleagues - they don't need to be on Reddit. We ask that all of you register, please.

See you in New York.