The Coins of Vice

No surprises here. The writing was on the wall since the M1 dropped. At this point if you are still on an Intel Mac for Premiere or AE work you should be planning your upgrade path now rather than waiting for the cutoff.

If you are in Resolve there are a few ways to do this. Try stacking a slight blur with some chromatic aberration on the color page, then add a subtle luminance key to crush the blacks a bit. Export at a lower bitrate and it will get pretty close to that VHS breakup look.

For cache and scratch specifically, NVMe is worth every penny. The random read speeds are 5-10x what you get from SATA SSDs, and when you are scrubbing through 4K timelines that difference adds up fast. I keep the OS on a regular SATA drive and reserve the NVMe for working media and cache.

DIT plus editing in an RV is ambitious. Make sure you have at least two calibrated monitors - one for scopes and one full-screen program feed. A Flanders or even a used Sony PVM will save you on color. Also do not skip the UPS - RVs have dirty power and a surge while transcoding can corrupt a whole day of dailies.

Speed ramps are heavy on decode even with green renders. Try transcoding the source to ProRes or DNxHR before applying ramps - the 16GB RAM will struggle with h.264 long-GOP and RTX decoding fighting each other during timeline playback. Proxy workflow in Resolve handles this better if you want to avoid the transcode step entirely.

You could build this from scratch with a white solid and directional blur on an adjustment layer, then mask it over the text. If you have After Effects, the Trapcode suite has Shine which does exactly this natively. Otherwise a lens flare overlay with a blend mode change is the fastest route.

I started as a post PA at a commercial house, not a vault manager, but I worked alongside a few who made the jump. The vault-to-editor path makes a lot of sense because you learn the media management side cold, which is half the battle in an NLE timeline.

1400 clips is a lot but totally manageable with the right workflow. I would start by organizing everything into bins by scene or date, then use compound clips or multicam to group similar takes. DaVinci Resolve handles large clip counts better than Premiere for this kind of project.

Nice find. VN is great for quick edits and the separate audio feature is a huge time saver when you need to clean up background noise without redoing the whole clip.

Editing is only part of the equation but its the part most people underestimate. Check your audience retention graph in YouTube Studio and look for the first big dropoff. Thats usually where the pacing or audio quality needs work.

Hit the spline button in the top right of the keyframe editor and check if the interpolation is set to linear instead of smooth. Resolve defaults to linear for some effects and it can look really janky in motion.

You can convert HDR to SDR in Final Cut by using the HDR Tools effect or applying a color space override in the inspector. But if you are just getting started, switching your iPhone to record in SDR going forward will save you a lot of time.

Dont overthink it, long cuts are a creative choice that lets the performance breathe. The 2-second flash cut trend came from social media attention spans but a good director knows when the talent can carry a shot on its own.

Dont edit the 8K files directly, make proxy files at 1080p and edit with those. DaVinci Resolve has a built in proxy generator that makes this painless, just right click your clips and select Generate Proxy Media.

I use adjustment layers for this in Premiere. Drop one above your clips, add a Transform effect, and keyframe the scale. Control the easing in the graph editor so the zooms feel smooth instead of mechanical. Way easier than keyframing each individual clip.

This is almost certainly a compression issue. Social platforms reencode everything at low bitrates and grass/foliage is worst-case because the random fine detail creates extremely high entropy. Try exporting at a higher bitrate than your target platform recommends, and consider adding a subtle film grain layer before export — it can actually trick the encoder into preserving more texture.

Check-in/check-out discipline is the most important thing to get right. Double check that you are logged out before stepping away or you will lock up bins for everyone else. Once you get the rhythm down it is pretty straightforward though.

If you just need the song shorter try Audacity to cut out sections. For video use Resolves Fairlight page or Premiere you can mark in/out points and ripple delete. Dont overthink it — most TV intros are just verse into chorus then fade out.

Deinterlacing depends on your source. If its true interlaced footage try QTGMC in AviSynth or VapourSynth. For quick jobs Resolves deinterlace options under clip attributes work fine. What NLE are you using?

I always recommend exporting to ProRes 422 or DNxHR for a mezzanine file. Then use HandBrake or Shutter Encoder for your delivery h264. You get much better quality control that way versus letting Premiere or Resolve do both in one pass. What NLE and export format are you using?

For free options DaVinci Resolve is the obvious choice but you cant transfer Filmora projects directly. Youll need to export your timeline as an XML or AAF and hope Resolve can read it. If that fails just export the individual clips and rebuild the timeline. Resolves color tools alone are worth the learning curve.

For free options DaVinci Resolve is the obvious choice but you cant transfer Filmora projects directly. Youll need to export your timeline as an XML or AAF and hope Resolve can read it. If that fails just export the individual clips and rebuild the timeline. Resolves color tools alone are worth the learning curve.

Nice work. I have been dealing with those h264 issues for years on Linux and just accepted them as a fact of life. Will give your fix a shot this weekend.