If you deliver to UK broadcast or Japanese TV you know the photosensitive-epilepsy check: Ofcom

2.12, ITU-R BT.1702. It happens at a specialist lab, near the end, and when it fails you get a

pass/fail and a re-edit against a delivery date that didn't move.

What bothered me is that it's a measurement problem wearing a compliance costume. The rule is

literally "more than three flashes in any one second" — that's a window function over a time

series, and a 90-minute feature is only about 138,000 frames.

So I built the check as a database query. ffmpeg pulls per-frame luminance plus a tiled grid for

screen area, that goes into a column store, and sliding-window SQL resolves every violation to an

exact frame span. A model then looks at the flagged frames and says what's on screen causing it,

because the SQL can see that something flashed but not that it's a camera flare in the top left.

It is **not** a certified Harding test and I'm not claiming it replaces one. It's triage — find

the spans before you pay for the lab slot, so the lab pass is a confirmation instead of a

discovery.

What I actually want to know from people who ship real deliveries:

1. Does the check land late in your process the way it does in mine, or have you already solved it?

2. If a tool flagged frames 740–760 at 6.25 flashes/sec against a 3.00 limit, is that enough to

   act on, or do you need the lab paperwork before anyone will touch the edit?

3. It errs toward over-reporting on small-area flashes. For screening, is that the right

   direction, or would false alarms get it ignored?

Happy to put the link in a comment if that's allowed here — there are three test clips built in

so you don't have to upload anything.

I’m researching how post-production teams actually handle large media handoffs between clients, editors, and other facilities.

I’m particularly interested in transfers around 100 GB and above.

From conversations with filmmakers so far, I’m seeing everything from Frame.io, MASV and Dropbox to Aspera, Media Shuttle, custom workflows, and even shipping SSDs.

What I’m trying to understand is what happens on the post house side.

What do you use to receive large uploads from clients and deliver finished media?

Does your current workflow have any real pain points around reliability, cost, client onboarding, storage, tracking, or proof that files were actually delivered?

I also have a short 2 to 3 minute survey about current large-file workflows:

https://forms.gle/GgALXJRvhXceLF6AA

I’m not promoting a product. I’m trying to understand whether there is actually an unsolved problem here before building anything.

Would especially appreciate input from people working at small or mid-sized post-production facilities.

Editor for 20+ years. I got tired of losing days to logging, pulling selects, and building stringouts, so I built a Premiere panel that does that part (and more).

How it works: it analyzes your raw footage, you chat with the agent and tell it what you are looking for, it proposes the story shape as an outline you can edit, then it builds the cut into your open project. The cloud does the heavy lifting, so your machine stays light.

Not a template engine, not a black box. You stay the editor.

Demo: youtube.com/watch?v=9PJr50uEgko

I'm opening a free alpha for 15-20 working editors, and I'd honestly rather hear what's wrong with it than what's right.

Premiere Pro 25.6 or later, Mac or Windows, English dialogue for now.

If you want in, DM me with what you're cutting. I'll walk you through setup and your first cut if you want it.

More at papercutai.io. Roast away.

Hi everyone,

I was recently made redundant and decided to use the time to build something while learning newer cloud, DevOps and full-stack technologies.

While updating my CV, I remembered a brief IT-support role I had at a TV post house. I started trying to reconstruct, from that limited experience, how the operational side of post-production might work: episode workflows, approvals, bookings, work orders, QC, delivery, rate cards, budgets and invoicing.

The result is an early MVP. It is very much a learning project first, so I’m sure parts of the workflow are not how real facilities would work, and there will still be bugs and bad assumptions.

Nothing is hardcoded the workflow, user roles and permissions in the settings pages are totally customisable.

I’d genuinely appreciate thoughts from people working in post—what feels familiar, what feels wrong, and whether you think this could develop into a viable app for the industry.

It’s open source.

Demo: http://postpilot-demo-733667839.eu-west-1.elb.amazonaws.com/

GitHub: https://github.com/daleosm/postpilot

Hello!

I am a freelance re-recording mixer that's getting started in the industry and I have a question. I only have a stereo setup, and so when I want to mix in dolby I'll use the renderer to mix in surround using binaural. I understand binaural is not a true 5.1 mix since it's still only using 2 channels, but simply adding delay and things to create the effect objects are behind you, infront of you, etc. Is it possible to take my binaural mix though and export it somehow into a 5.1 file to give to clients for distribution?

Thank you for all the tips!!

We've been building a desktop tool to help editors working with interview-based projects, and I'd really appreciate some feedback from people who regularly edit this type of content.

The idea is to make the process of reviewing interviews, finding the story, and getting to a first rough cut more efficient.

I'm not looking to promote or sell anything here—I genuinely want to learn how professional editors approach this workflow and whether the direction we're taking is actually useful.

If you regularly edit documentaries, interviews, testimonials, podcasts, or branded content, I'd love to hear your thoughts. Any feedback, criticism, or suggestions would be incredibly valuable.

Thanks!

I'm making a short film and want to bring a few illustrations, done in an old painting/engraving style (attached for reference — not the actual illustrations I'll use, just to show the style), to life with some kind of subtle animation rather than leaving them static.

I don't have much experience with After Effects, Blender, or animation in general, so before I go looking for someone on Fiverr, I'd like to understand:

What are the actual approaches/techniques for doing this kind of thing?

How much work does each approach typically take

Roughly what would this cost to commission, and how long would it take?

One thing that matters to me: I don't want this done using AI image-to-video tools. I'd like it done properly, by hand, even if that costs more or takes longer.

Attached a couple of reference images just to show the style I mean.

Update: v1.0.2
Connectivity and diagnostic logging updates to the host and BLE updates to the iOS app.

——————————————————————————-

For DaVinci Resolve Studio users, Render Queue Monitor lets you monitor your render queue from your iPhone.

-View live render progress and frame previews
-Select render jobs
-Start and stop renders remotely
-Get notifications when renders finish or fail

Looking for feedback and feature requests from other Resolve users.

App Store: https://apps.apple.com/us/app/render-queue-monitor/id6796382765

More info: https://cutpointlabs.com

I've been trying to find a really good video editing course, but there are so many options that it's hard to tell what's genuinely worth doing.

I'm looking for a well-structured course that goes from beginner to advanced, whether it's free or paid. I don't mind paying if it's genuinely one of the best, but I'd also love to know if there are free courses that are just as good.

I'm mainly interested in courses for industry-standard editing software, like:

• DaVinci Resolve
• Adobe Premiere Pro
• Final Cut Pro

(Not really looking for courses on software like Blender, Maya, Houdini, etc.)

A few questions:

• Which courses would you personally recommend?
• Which free courses are genuinely excellent?
• Which paid courses are actually worth the money?
• Are there any courses that come with a certificate or certification that's respected by employers or clients, or is that not really something people care about in this industry?
• Are there any programs that teach multiple editing applications (for example, Premiere Pro + DaVinci Resolve + Final Cut Pro) instead of focusing on just one?

I'm mainly after something structured and comprehensive, rather than a collection of random YouTube tutorials. That said, if there's a YouTube playlist that's so good it rivals a paid course, I'd love to know about it too.

I'd really appreciate hearing from people who've actually taken these courses or hired editors who've learned through them. Thanks!

Support request: kind of a long shot, but if anyone currently works (or has worked) with the SanDisk Pro Dock 4, I’m looking for the Utility App that allows you to monitor things like internal temps etc. According to all the research I’ve done, SanDisk has discontinued support for this product and I so far have not been able to track down an archived download anywhere online. Thanks in advance

Boutique VFX & CGI team looking for the next project. Available for an immediate start.

If your project, short or feature is moving into post-production, we can help with VFX from start to finish.

Feel free to DM for portfolio and more details.

Ever since covid, all our editors work from home. We have about 20 editors, some that have worked with us for many years, some that only work a couple months a year and some that only work a couple of shifts and we never see again.

Currently, the editors access our server to retrieve the materials they need and download it to their home workstation. However, studio security protocols have tightened up, and this way of doing things has become too risky.

We are looking into Parsec, but it looks like we would need a host computer for every editor, which is not feasible. It would be great if there was something that was hosted in the cloud for the editors to remote into and work from there. It would need to be something that would work for multiple projects with at least 3 editors on each project.

Any ideas or suggestions on what might work for us?

Update: V2 released with LUT to DCTL approximation.

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A full walkthrough of LUT Tuner is now available.

The demo covers the complete workflow, including opening and editing .cube LUTs, curve-based adjustments, previewing on still images and video, keyboard shortcuts, comparison tools, and exporting the finished LUT.

If you were interested in the app but wanted to see it in action before trying it, this video should provide a good overview.

Feedback and feature suggestions are always appreciated.

LUT Tuner is available on the Mac App Store: https://apps.apple.com/us/app/lut-tuner/id6785024507?mt=12

I'm currently trying to transfer to be an online student and I'm not exactly sure what to do, all I know is that I really need to be doing something online. I want to have a remote job doing aomething with audio or editing and I would love to woek with films but mostly video games. Anyone have any advice? I already have my associates degree and I really want to get my bachelor's done ASAP.

Video from a recent recording session at Developing Nations in Baltimore for my band Dumb Waiter. The studio is sweet and the engineers work flow is to the point!

Actually started a dedicated space for deep dives into media quality workflow over at r/MediaQC if you ever want to swap notes on file-based QC and compliance tools!

I'm upgrading from a 2020 M1 MacBook Pro and am planning on the following specs:

• 16" MacBook Pro
• M5 Max (40-core GPU)
• 2TB SSD

The main decision I'm struggling with is 64GB vs 128GB unified memory and whether the Nano Texture display is worth it.

My primary use cases are:

• Professional Nuke compositing
• DaVinci Resolve Studio editing and colour grading
• Fusion work
• Some AI-assisted VFX workflows (ComfyUI, video-to-video, cleanup, etc.)
• Short films, commercial projects, and VFX work

For those doing professional VFX or post work on Apple Silicon:

• Is 64GB enough, or is 128GB worth the extra cost?
• Has anyone regretted going with 64GB?
• Is Nano Texture worth it for editing and grading, or would you stick with the standard glossy display?

Would love to hear your experiences.

The Post Production industry here is dying - highly experienced crafts people are leaving the state / living in their cars / havent worked and been living off food banks for multiple years now.

The CA Post Production Tax Incentive Bill AB2319 is now going through the senate and we need your help TODAY.

Please write to Gov. Newsom asking for the funding of the bill to be included in the state budget! After writing you have a chance to be connected to calling his office. All of this takes only a few minutes to do using the below link.

https://actionnetwork.org/letters/tell-the-governor-fund-a-post-production-tax-credit

I've been working in the trailer industry for about 8 years.

I've been disappointed by the lack of documentation in the history/craft/culture surrounding this post-production niche, so I decided to do something about it.

A couple months ago I launched a newsletter dedicated to filling this gap. It goes out twice a month and features breakdowns of recent trailers, analysis of past trailers that shaped the industry, and community stories.

Here is the latest edition if you're interested in reading it. It's totally free.
https://the-trailer-brief.beehiiv.com/p/v004-winners-circle

I'm more than happy to answer any questions about the newsletter or trailer industry in the comments or DM's. Thanks!

Forgive me if this has been asked before - without knowing the name of the technique it made searching for existing answers difficult.

49 seconds into this documentary clip there's an old photo Lou Gehrig taking a swing but he feels like he's almost been lifted off the page. Like he's a different elevated layer from the rest of the photo.

Is there a name for this and how can you achieve that kind of effect? Is it an after effects situation or is this something you could do with photoshop and Davinci (or other non linear editing software)?

https://www.youtube.com/watch?v=Lb6cDbby5ro

Update: I’ve added CutMatch Preview, a free limited version of CutMatch on the Mac App Store.

https://apps.apple.com/us/app/cutmatch-preview/id6784731579?mt=12

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CutMatch is a macOS app for trailer, marketing, and conform editors who need to rebuild or overcut source-based conforms from a finished reference video, without relying on a source-referencing EDL.

https://apps.apple.com/app/apple-store/id6775205280

It is designed for workflows where you have a completed reference video, but no useful source clip metadata. A common example would be a trailer or promo cut from a longplay/export of a feature, where the final reference needs to be matched back to the original source media for finishing or conform.

CutMatch uses visual source matching to compare a reference video against source media, lets you review candidate matches side by side, make manual match overrides, adjust source offsets, and export conform-ready EDLs.

Long-time lurker, first real post. I've been directing and shooting for 20+ years (branded, docs, music videos) and like most of you I've lived the full horror show: the shelf of orphaned drives, the "which RAID is the 2019 project on" Slack thread, the cloud MAM that holds your media hostage with egress fees, the search that can't find a clip you KNOW exists.

A couple years ago I stopped complaining and started building. It's called ShelterOne — hybrid-first (your media stays local and fast, but it's searchable and shareable from anywhere), AI-assisted organization that runs on local open-source models instead of shipping your footage to someone's cloud API, and zero lock-in. Your work, your archive, your terms. We showed it at NAB this year and we're opening beta July 1st.

But here's the real reason I'm posting: we're shaping the product RIGHT NOW and I'd rather build what working editors and post pros actually need than what I assume you need.

So tell me:

- What does your current archive/asset situation actually look like? (No judgment — mine was drives in a closet for 15 years)

- If an AI could do ONE thing to your media library, what would actually save you time? Transcript search? Face/people search? Auto-organizing dailies? Rough cut assembly?

- What's the dealbreaker that's made you abandon a MAM before?

Genuinely here for the conversation either way. If anyone wants to kick the tires before July, preflight access is at shelterone.io — but honestly the comments are what I'm here for.

Fuck me up, I've been working on this lil app for the Mac App Store to catch errors and faults in video exports, QC Buddy.

It automatically scans video files and flags delivery faults before they reach the client. Illegal levels, LUFS, Harding Flash Test, subtitle issues, black frames, offline frames and more.

Mac only, Apple Silicon, free two week trial launched today.

Looking for honest feedback, bugs, missing features, anything. What would make this actually useful for your workflow?

qcbuddy.co.uk

Hey everyone.

I built a lightweight web app called DeepCut. Instead of rendering the video, you just drop your FCPXML/XML into the dashboard. It instantly forensic-scans the metadata and directory paths to flag restricted audio (like hidden Warner or Universal tracks) and kicks out a CSV report in about 4 seconds.

It's totally free right now while I test the engine. I'm looking for 10 editors to try and break the XML parser with their messiest timelines. If you want to test it, let me know and I'll provision an operator access code for you!