Hey guys & gals!

I've been editing for a few years now and specialize in Davinci Resolve. Now, I'm really looking to branch into Motion Graphics and such.

What I want to know is, if you use Davinci Resolve, do you use Fusion to create motion graphics, 3d animations etc. or do you use other CG software like Blender, Cinema 4D, AE, Cavalry etc?

What's your experience and what do you recommend!

I have a 26 second (with 1080p clips at 30fps) edit I made in After Effects. Only the second has has Twixtor, brightness, and scale effects. When I export it in QuickTime format at 422 prores, the result is a file size at roughly 500mb. Does anyone know why it’s so large?

Looking to do remote editing. Would I be better off using the Mac built in screen sharing function or an app like Parsec? What’s the most secure?

Thank you

Hey there,

Finished a large project and decided to update my Premiere to the newest version before starting a new one.

However the new color management function is so extremely bad and honestly borderline unusable.

I have all my footage on a sequence; I set up the Media Color Space in the Lumetri Color settings tab by selecting Slog3/S-Gamut3.cine in the Override section for 1 clip:

• Apply to all clip instances -> does NOTHING.

• Auto Detect -> does NOTHING.

• Auto Tone Map -> does NOTHING.

• Selecting all clips and trying to adjust the input space: grayed out because I have "multiple clips selected"

• Right clicking all the footage in the Project panel and going to Modify -> Color and setting up there -> DOES NOTHING.

Nothing works.

Am I really going to have to manually select all my clips and override its color space one by one?! Are you also not able to just select the Lumetri effect in the Properties panel and copy/paste it to others anymore? How are you supposed to copy colors now?

I'm happy Premiere finally has color management but this is not the way.

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.

Editing is an art, but if you rely on it for a living, it’s your business. You have to be rational and business-savvy about it.

You don’t have to make a quit-or-stay decision. The state of the industry and job market is outside your control, and if you’re emotionally tangled in it, you’ll be in a bad state that harms your career.

In fact, you should consider diversification. When you’re not on a job, stop bitching about how there’s no job - learn something, start a business… you’ll learn so much that will enrich your career and mind.

Also, having an editor’s mind prepares you very well for many businesses.

The same advice goes for the “strong willed” people who are holding out. I’ve met a lot of people whose talent lie better elsewhere, but they got indoctrinated somewhere that they HAVE to be “patient” and “determined” to survive, and stay on a losing career track.

Get real, get your hands dirty. Do something and you’ll gain so much perspective.

Covid was a wake up call for me, and I started a business and one thing led to another. I’m not rich by any means but…

I love editing so much more now that I’m not under the pressure of what “state” of the industry is in, and I only work on projects I like and with people I like - and I’m 200% the editor that I was because I have a wider perspective on life.

Hi, So I have been offered a dream job at a production agency that specialises in sports commercials. I have been a video editor for around 4 years now but primarily I have worked on social first campaigns, marketing content, case studies and other social media related marketing.

The new company very much are TV/Cinema focused and obv do short form content online but its to a far higher standard (huge campaigns for brands like Adidas)

I took the interview and was very honest about where I am at and where I want to be whilst also highlighting my strengths (I am currently the most senior editor in my current company, I am fast, I work on all of the major client content etc)

I was told I was the outstanding interview and they would love to hire me.

But going into this new role, I feel scared? I am not sure why. I keep looking at their work and thinking "Can I even do this?" and one minute I think I can the next I feel like I want to decline the job just incase I am not good enough.

Everyone keeps saying "they hired you for a reason" but I am not sure still.

Any advice?

Hey guys! Currently getting into the content creation technical skills, and going to need a home setup. I'm looking for a budget friendly ( willing to pay a few extra for something promising) but I don't want to go above and beyond. I've been researching and the Mac mini is a common shelf product that many seem to be satisfied with. I definitely want something off the shelf because it's more convenient for me. I also need a desktop and some speakers to go with that as well. Will be using programs such as the Adobe creative cloud, and other music production programs like reaper or Ableton. If y'all could please help with some recommendation I would appreciate it.

Hello is there any site to hire YouTube video editors? Any help is greatly appreciated thank you $35-$40 an hour

Can you please tell me if the footage settings are good for broadcast on a TV channel? The MXF file is a 1080p remaster of film-tapes. I notice some horizontal jaggedness in the image in the footage from far away when I watch it on my cell phone. Could this be because it was poorly digitized?

Exemples: https://imgur.com/a/OjIajaT

Video MXF: ID : 2 Format : AVC Format/Information : Advanced Video Codec Format Profile : High 4:2:2 Intra Format level : 4.2 Format Settings, CABAC : No Format settings, wrapping mode : Frame Codec ID : 0D01030102106001-0401020201323104 Duration : 52 min 35s Bitrate : 228 Mb/s Width : 1 920 pixels Height : 1 080 pixels Aspect Ratio : 16:9 Frame Rate : 50,000 FPS Standard : Component Color space : YUV Chroma subsampling : 4:2:2 Bit depth : 10 bits Scan Type : Progressive Bits/(Pixels*Frames) : 2,201 Strip Size : 83.8 GiB (98%) Color range : Limited Color primaries : BT.709 Transfer characteristics : BT.709 Matrix coefficients : BT.709

Video MPEG-4: ID : 1 Format : AVC Format/Information : Advanced Video Codec Format Profile : High Format level : 4 Format Setting, CABAC : Yes Format Setting, Ref Frames : 4 frames Codec ID : avc1 Duration : 2 h 10 min Bitrate : 15.9 Mb/s Width : 1 920 pixels Height : 1 080 pixels Aspect Ratio : 16:9 Frame Rate Mode : TConstant Frame Rate : 29.970 (30000/1001) FPS Color Space : YUV Chroma Subsampling : 4:2:0 Bit Depth : 8 Bits Scan Type : Progressive Bits/(Pixels*Frames) : 0.255 Stream Size : 14.5 GiB (98%) Encoding Date : 2025-01-08 19:58:43 UTC Labeled Date : 2025-01-08 19:58:43 UTC Color Range : Limited Color Primaries : BT.709 Transfer Characteristics : BT.709 Matrix Coefficients : BT.709 Codec Configuration Box : avcC

Hey everyone, I have a good spec PC but want to start working in a co-working space so thinking of buying a laptop. I plan on using a remote desktop app to work on my PC but not sure if it'll be a smooth experience? I use after effects mostly and premiere pro. Does anyone have experience in this regard? Is it a good option considering this is my full time work?? Don't really have the budget to get a high spec laptop.

And any recommendations for a laptop for this? Decent but not high end. Good Ram and PC. Thank you!

What's the more common approach to selling bumpers / stingers / station IDs to broadcast networks:

1. perpetual use license
2. monthly fee for the duration of use

I'm asking because I'm about to approach a network with a pitch for my services.

This alternates Sundays with our "Reel Review."

Here are the key things to do before you post

Title:

Length:

Purpose: Why are you posting this?

• This could be:
• Something cool I made
• A client win
• Or yes, even feedback.

If it's feedback, you have to find two other posts wanting feedback and give notes. If you don't the mods will visit your house

You can post from YT, but we'd prefer more professional landing spots (including frame.io)

---- Copy this section ----

Title:

Length:

Purpose:

Hey friends,

Been freelancing for a full couple years now and I still don't feel like I'm great at quoting when producers (sadly) insist on flat rates. I know it's not ideal, but when it's the difference between getting the job and not, I always set a clear scope and out of scope rates for more revisions etc. and that usually feels good to me at the end of the job.

Most of my work is commercial and documentaries, which obviously range a lot between brands, budget and the level of indie a film is, but I feel like sometimes I'm either too presumptuous of a brands budget and quite too high or (to their benefit) get the sense that a documentary might be more grassroots than it is, and come in lower than I can get.

Maybe this is just the game we play with the old what's your rate, what's your budget standoff, but I'd love to hear if anyone has any good tips on making more educated quotes or even teasing out more information about the budget in those early conversations without being too direct.

Or am I just thinking about this all wrong altogether?

Thanks in advance!

Working on some phone screen comps in mocha and wondering if anyone has any tips for extreme angles like this: https://imgur.com/a/pfp5ty2

Shot on a probe parallel with the phone that pushes towards the bottom of the screen.

I can’t seem to get the screen to move off “into space” and the track always just kind of squishes the screen as the shot moves instead.

I want to generate the same subtitles style . Any idea how to do that? I tried a few known programs but I couldn't find it.

https://www.tiktok.com/@refinedambition_/video/7464961976410623254

Frankly I was going to go towards building an agency and automating the whole process however, just like it was back then, it's insanely hard to get clients, and i am starting to wonder if a random brand name is even trustworthy as oppose to a personal name.

Hello there. I now own a m4 pro macbook pro 14 inch 24/512 base

I want to buy a like-new m1 max 16inch 64gb 1tb for 2000$. I feel like I need the ram and gpu a lot for Fusion in DVR Studio.

Whats your opinion? M4 pro sucks completely in fusion. I was too naive when I got it.

Hey, question for those who work in the AD/marketing space. I usually work in film and rarely take on AD work but I did recently. One of the deliverables for the spots I did (2 30sec and 2 15sec cuts) reads as follows "Generic ProRes slated submaster." I asked the agency exec who is my point of contact and he basically described what in film I would call textless but that doesn't seem right and google searches bring up a million different answers.

Can someone clarify what this typically means in the marketing world? Or is it truly too vague and should I press again for more clarity?

System specs: Mac Studio 2022 running Monterey  // Software specs: Adobe Premiere 2024 // Footage specs : 4K Sony Venice footage transcoded to 1080p proxies

Hi there,

This will be quite a big post, I'll try to include as much context as possible.

I'm in the process of designing a network storage and configuration upgrade for a small video production studio I previously worked at. The upgrade is for a large 12-month project. This will be an archive documentary where new archive and general material will be coming in all the time in various batches across the production timeframe. This is not a case of all media will be present before the edit begins.

Budget for hardware: ~ USD$7.5k but flexible (team is Australia based)

Key Information:

Main Software and codecs:

• FCPX exclusively for editing (N.B no media or caches ever stored inside Libraries)
• Resolve for occasional tasks (transcoding, conforming, special uses)
• ProRes Proxy for editing, mix of FHD-6K footage (lo res Archive footage will be mostly upresed to at least 1080 I imagine. )
• delivery will likely be 4K 24fps but TBD.
• there will be some 422 and 4444 media being utilised during production, with DPX scans of film and other media coming in, but I will try to enforce all editing to be taken down to Proxy.
• some original or hi quality media will be accessed for some in-house post-production

Users:

• 3-4 simultaneous editors at any one time
• 5-6 maximum full bandwidth needing users at any one time - but rarely

Existing Hardware and configs:

• 4 x M1 Ultra base model Mac Studios (10GbE ports) [Main Editing machines]
• 2 x other Macs (10GbE adaptors) [for anciliary tasks]
• 1 Mac Pro 2013 (10GbE adaptor) [Central hub for LTO, managing the network, Postgres Server, looping in a Thunderbolt RAID storage drive, remote management access machine, etc
• Synology DS1817+ (2 x 10GbE in 20Gb aggregation) [Previous main editing and media NAS, thinking of using it as the larger original media + archive NAS in new setup]
• Netgear xs708t 8 port 10GbE switch (2 x 10Gb SFP+
• 1Gb Internet line connected to switch (to provide wired internet to all devices)
• UPS

Existing NAS history:

Synology DS1817+ current setup:

• 8 x 10TB HDDs RAID6
• 2GB RAM
• latest DSM 7

Experience:

Note: I inherited the whole network and NAS setup when I joined the team.

This NAS served us just about ok on the last big project 6 years ago. We were mostly editing and veiwing ProRes LT @ 1080p-2K and when 4 editors were all accessing various edits and rendering, we did occasionally expience some choppiness. But on the whole it held up ok.

However since then, and possibly since upgrading to DSM 7, the sequential read speeds have been quiet variable. I believe we also transitioned from AFP to SMB since that time as per AFP's deprication. I do personally believe the MacOS's SMB implementation is more to blame than anything, and I've spent quite a while trying to optimise the NSMB.conf files on all client machines as well as the DSM SMB settings. If anyone has the most up to date knowledge on this then that would be incredible to know

Future Plans + Ideas:

New Software:

• PostLab for FCPX Library management (we've tested this and I think we're happy to implement)
• Last time around, we had major issues with how to share Libraries on the server without running into permissions issues (FCPX thinking they were still open when they weren't)

New Hardware and configs:

• New NAS for main Proxy/LT editing and general common access files. Current ideas:
• QNAP TVS-h874 with expansion cards:
• 10GbE x 2 [QXG-10G2T]
• m.2 NVMe x 2 [QNAP QM2-2P-384A]
• Asustor AS6804T Lockerstor 10 Gen 3
• Use the existing Synology NAS for all original media and archive material.
• External NVMe SSDs for FCPX Cache attached to main edit machines
• Move Internet into a seperate 1GbE switch.
• Add an additional 10Gb switch via RJ45 or SFP+ DAC
• Turn on Jumbo frames acrross the 10GbE media network

New NAS config ideas:

QNAP TVS-h874 i7 32GB model + expansions: 10Gbe x2, m.2 x 2

• 2 x 2TB NVMe RAID1
• System OS
• Postlab
• Dropbox
• Write Cache?
• 2 x 4TB NVMe RAID0
• Read Cache / Auto-tierring?
• 8 x 12TB HDDs RAID6
• Proxy/LT media
• General storage

Even though it's over 2 years old now, this unit still seems like a decently future proof model. Especially with the PCIe lanes, though it would be great to have more built in NVMe slots. And it would be great if it came in a 10-12 bay version. However, my thinking for this one would be to ignore the Thunderbolt option and fill the expansions with the necassary 10Gb and also a dual m.2 card.

And then, fill the 8 bays with whatever capacity HDDs the companys willing to go with and try and do something clever with all the NVMe drives.

So I need some advice: I've read and heard mixed information on the value of SSD Read Caching or auto-tiering for the purposes of video editing (in a Team context). Personaly, I think anything that would occasionally improve random timeline seeking for mulitple editors while possibly freeling up some load on the HDD array for another editor sounds good. Generally the same section of material will be worked on over a few weeks by each editor — so if anyone has any experience with how long it takes auto-tierring or read caching to catch up to large video files in common use from week to week, please let me know.

In terms of Write Caching, my thinking is a portion of the 2TB RAID1 could be given to this so that editing is not disrupted too much when new material is being ingested in and/or transcoded to this NAS on any given day. This would occasionally be an issue on the old system. However, it's not crucial as I reckon the old Synology NAS could be used as the main ingestion unit.

Any thoughts or experience with this model and configuration tips for similar purposes would be much apprecaited!

Asustor AS6804T Lockerstor 10 Gen 3

• 2 x 2TB NVMe RAID1
• System OS
• Postlab
• Dropbox
• Write Cache?
• 2 x 4TB NVMe RAID0
• Read Cache / Auto-tierring?
• 10 x 12TB HDDs RAID6
• Proxy media
• General storage

Ok so the thinking with this one is a cost-benefit, ease of setup and convenience. Comes with 2 x Thunderbolt, 2 x 10Gb + more, and 4 built-in m.2 slots, Plus comes in a 10 and 12 bay version. We could go a lot crazier here with the storage capacities.

Downsides I can see are less future-proof expandabilty through PCIe upgrades or re-configs.

And the big questions from me really are, is ADSM good enough for our purposes and will the hardware be as reliable?

I can see in general that the CPU is likely not as powerful nor future-proof.

EDIT: I’ve just learned that the USB4/TB ports don’t even necessarily connect properly to Mac Thunderbolt as a TB-over-IP connection. Also I’m generally thinking this model just wouldn’t be up to snuff as something to depend on.

I'm sort of running out of steam here now, if I think of anything else to include I'll edit the post.

Thanks so much in advance for anyone's thoughts and advice.

I’ve added just a sample in here https://jmp.sh/s/DhJWUvBJO5Xfdato8LN0

Im a beginner when comes to audio. I had this recording out from a bad microphone, and I would like to make it sound better but I don’t know what could I do?

All Ive done so far is used some plugins on FCPX like noise reduction and compressor, and added room tone in there.

HI!

I'm cutting a documentary in Premiere Productions. Lots of footage.

I'm pretty new to the Productions workflow myself and handed the drives over to someone who barely knows Premiere so they could put together an assembly cut while I wrapped up some other projects.

Long story short, they imported a lot of footage a second time, adding it all to their edit project.

SO now as I go through the assembly working on my rough cut, a lot of footage is linked to this one giant project file that takes a long time to open, and when it finally opens, the clips aren't visible. I guess this is because duplicate clips is turned off - but even if I turned them on, not sure I want to have duplicates. I spent a long time cutting sizzle reels, pulling selects, making stringouts with markers, etc. So I can't delete the original clips and replace them with these new ones if I could see them.

I tried to reassociate clips to the projects they were originally in, but it never works, or almost ever works. A couple times some clips would relink after reassociating them twice. So I've resorted to overcutting footage, which obviously is far from ideal.

Any tips for what to do with this mess, or is overcutting the only way?

Thanks!

Premiere Pro 2024.6.1 on an M1 MacBook Pro.

I'm a documentary director/editor with 10 years of experience. I've just recently started blogging, as a way of sharing, learning, and improve my writing skills overall. I just posted my real article, about how to interview for documentary. If you read and find it helpful, please give it some support!

https://chatcut.medium.com/how-to-learn-what-you-dont-know-you-don-t-know-with-9-documentary-interview-tips-aab3a86f09b3

For work I have a PC, Mac and Laptop. I'd like to route the audio from each to either an audio mixer and/or audio interface so I can control the volume going to my speakers.

I know an audio mixer can do this but can an audio interface also do this, depending on available inputs?

I was looking at the PreSonus Quantum ES 4 - which I think can only connect to one computer. The Rodecaster II can connect to two computers but I need to look into controlling volume of the two (and is expensive and has a lot of features I don't need).

I'm guessing I'll need a mixer and add an audio interface for features that comes with.

The headphone port on my current mixer (Mackie Mix Series Mix8) purchased in August 2019 no longer works (hasn't for awhile).

Any mixer and/or audio interface recommendations? Thanks!!

My studio uses WeTransfer to send client files, a couple hundred GB a day at least with a lot of TB in storage, 5-10TB usually. If I send someone 6 videos and 4 audio tracks that total 200GB most clients I have can't download 200GB without it taking forever or timing out. So we would direct them to click preview and download the files 1 at a time. That option is now gone. I emailed support and was told they removed it with no plans of bringing it back. This is a weird move.

Looking at alternatives, nobody has been able to match the price/service we had with WT. Unlimited Storage, no limit on daily transfers for 30 dollars a month. Any suggestions?

Saw this in my feed…and yeah. Nailed it.

https://www.youtube.com/watch?v=N0xR-NP7wfA

Funny stuff u/Spontaneous-Creative

Hey people, so I'm trying to work remotely on a project all shot on freaking 8K from a Raptor and each file is like 20gbs. They work "ok" in my computer if directly from my hard drive, (M1 Pro), but, I have 300gbs on LucidLink that's nearly impossible to work with.

Files uploaded in Indonesia, I'm in Brazil, and the storage location I selected North Virginia as it was closest to me. Footage playbacks in 12fps. Any tips on how to work around this?

At first I thought my mac wouldn't handle the files, but then after copying one file into my drive, it playbacks somewhat smoothly, so I was left wondering where the bottleneck is, and I'm thinking it's Lucid.

I know we're talking 8k raptor and it's a different beast but... I mean, that's what LucidLink is for, right?

I've used Lucid with komodo 6k files before and it worked perfectly, so I'm also wondering if there's this huge difference from 6k to 8k that's making it so hard to work on. My internet connection quite good, btw.

Thanks everyone

There has been an old post about it that I cannot reactivate, so I will start a new one.

Using a Premiere Multicam sequence has been recommended in the past to sync audio and video by premiere. I have lots of footage from two different cameras and I need to sync them by waveform. However I cannot see an option to mark the clips as "camera 1" and "camera 2" before syncing. So multicam sometimes stacks up six videos on top of each other although they were shot by the same camera. How can I fix that?

another option:

I tried to put them all in a timeline first - video for every camera on a single track, but when I right click "syncronize" is greyed out. any other option?

I’m cutting a show for one of the major streamers right now. One of the lucky ones. But I can feel it. My number is up.

I’ve been making the rounds. Calling old executive producers, post supervisors with decades of experience, friends running finishing houses, even a buddy at Netflix corporate. Another friend at a major agency that brokers deals for shows.

It’s all the same.

Netflix is the only real buyer left. Every other streamer lost the war, and now they’re clinging to life, trying not to go belly up. Netflix did to Hollywood what Walmart did to small-town America. Flooded the market with money, wiped out the competition, and now stands alone, dictating the terms.

Production companies are chasing tax incentives overseas. London, Canada, Australia, a few states here in the U.S. But even there, the work isn’t plentiful. There’s no “Survive Till ‘25” or "Still in the mix for ‘26."......It’s over.

I would bet that the Editors Guild (Local 700) probably lost 10% of its membership last year. Wouldn’t be surprised if they lose another 10 to 15% this year, maybe more. The industry will keep contracting until only a small, elite few are left. And the rest of us?

This is what happened to Detroit and the auto industry. It’s what happened to coal towns in Appalachia. And now it’s happened to us.

I don’t take any joy in writing this. I love this industry. I built my life around it. I have friends, damn good ones, who are looking for a way forward. But hope, when stretched too thin, turns into delusion. We have to face reality.

The most surreal part of all these calls? Nobody watches TV anymore. Even the people who make it. We’re all watching YouTube. Oh the irony.

Think about that.

Public access TV, the thing we used to laugh at, just took down the crown jewel of Los Angeles....Hollywood.

As for me, I don’t know. Maybe I’ll pick up odd jobs. Maybe I’ll figure something else out. I don’t have any other skills, really, but I’ll learn. That’s what we do. We adapt. We cut things down to their essentials and rebuild.

If you’re still out there grinding, I hope you find a way. And if you don’t? There’s still life beyond this town.

Take care of yourselves.

Hi everyone im a media specialist which basically just means i do it all on most sets and that includes a lot of monitoring and editing work I mostly freelance but i have a few stable contracts

However after nearly 10 years my daily drivers finally kicked it, and that means new headphone time

So heres what i need Closed back due to my shooting and editing in a lot of different environments

Removable cable since that always dies first

Durability sometimes in on set, and sometimes im.in the middle of the woods, so something that can take a hit is needed

Obviously need a neutral sound, and as much detail as i can get

Im currently looking at the DT 770 pro x, as they seem like a solid update to the 770s, and those things are durable as heck, and sound very solid

The other option i was eyes was the HD 560s as that seems like the closest thing Senni has to my old phones, but i could be wrong, the split has kinda got me dazed on their product lines

Im also open to suggestions i wanna keep it below 250, but woudl consider 3 if the product has a lot of bang for its buck

Anyway i appreciate any help i can get, so thanks in advance