I like to keep a fairly large hard drive for "lukewarm" storage of project backups. I don't ever plan to edit off of it, just a place to have my stuff automatically go to in the event something happens to my main RAID or I accidentally delete something and want to get it back immediately.

Typically, I've used G-RAIDs, but was poking around on B&H and saw this and wondered if anyone has experience with it?

https://www.bhphotovideo.com/c/product/1550672-REG/glyph_technologies_bbpr16000ent_16tb_blackbox_pro_enterprise.html

edit to appease to autoMod, even though it's not relevant for the question:

MacStudio M2 MAX 64GB

Avid, Premiere, Resolve, whatever...

Specs we use

• Dropbox for sending to clients
• Final Cut Pro
• davinci resolve studio
• apple Mac Studio screen
• Mac m1 computer
• iPhone 14
• Sony A7ii settings Cine4
• drone dji mini
• QuickTime

Problem : does anyone have any colour management settings on davinci that could work for us? I currently use rec-709-A which is giving me the best results it still looks flat when I export it on QuickTime, so I put into Final Cut to up the contrast and saturation; I then export to Dropbox and check on my phone which looks flat again ( my boss checks on his phone) so I up the contrast and saturation again so it looks wild on the computer but normal on the phone, but then he says the colours look off and honestly I’m losing it, someone help me please!

the colours I see on my screen are different to what my boss sees on his screen, I’ve tried different methods, different screens but we can never seem to get it right, the photography side of the business doesn’t have a problem but for some reason we do. I feel like I’m going insane. My boss isn’t willing to change how he shoots so I need to fix it from my side.

I've been cutting in the commercial space for about 5 years now - getting income from fulltime employment with a post house. Being signed to a company has worked for me given it's provided a stable income with relatively low risk, and that's what I'd like to keep - but I'm hoping to jump into the long-form/feature game. I've done a fair amount of research and can't seem to find any post houses that mainly have a focus on long-form (strictly editing, not vfx/audio/etc) that I can set my sights on. I've always assumed that cutting features is more of a "freelance" game than advertising anyways given the scope of each project but wanted to run it by here just in case I'm wrong. I'm currently based in Toronto but willing to move to the states. Even jumping back to assistant editor if that's what it takes to get my feet wet in features.

Hi! I'm working on a DaVinci Resolve tutorial creating a 3D camera effect. When trying to apply the "drop shadow" effect to the text and connecting the nodes, they don't link up. This happens not only with this effect but also with others. Any solutions for this?

Client sent me a LUT, then said the LUT had a mistake in it and wondered if I could fix the skintones. So I used the HSL sliders and they wanted to keep that LUT, but exporting the LUT from Premiere doesn't keep the HSL adjustments. I'm guessing it's just the nature of the LUT; it's just an array of transformations so I guess the masking of HSL is not preserved. Seemed to work with Basic Correction. I'm also guessing curves would be preserved, but figure I'd ask instead of testing.

Title says it all. We're living in this current era of workers' rights, pushing for 4 day work weeks, etc., yet for some reason production is still an industry that relies on inhumane hours to meet arbitrary deadlines in order to achieve somebody's vision. I always try passively and professionally to push back when a deadline is looming and we're spinning our wheels, but at the end of the day it never sticks. I enjoy having a life outside of work - relationships, grocery shopping, doing laundry, exercise - but I can't achieve any of these things thanks to the bullwhip of production. I'm putting off having medical exams done because of deadlines.

What's the alternative? Get a corporate 9-5?

i worked as a dit in a short film but my role focused more on data management, transferring of files

now i am asked again to do dit work but this time it's not just what i did before, what should i expect or prepare for this? as of now, we haven't have a tech meeting with the dp and the taping dates is near so i am scared and anxious for this

Okay, I should preface that I’m fresh out of college and just starting to make my way in the industry. I got an opportunity to do some color grading for an independent film and it did not go well. What I mean by is that it was a very weird situation. I got this gig from a friend of a friend and their previous editor left (they just said he left and and stopped talking to them) and they need to get this done ASAP. I thought I could be of assistance and step in and finish the job while also using it as an opportunity to make connections. I also would do this for free as experience.

So, I make my way to this address I was given and it turns out to be an apartment complex which rang a few warning bells but I let it slide. Then the director/writer/lead meets me and brings me inside and everything seems to be going well until he takes me to his apartment in the building to watch the film and talk about what was needed of me. Now he didn’t have a computer with him to show me the movie so we had to watch it on my laptop and it was not a mp4 rough cut, it was the project file which had corrupted footage that he wanted me to fix along with sound mixing. I’m looking at this timeline and it’s a mess but I press on as I didn’t want to disappoint this person I just met. As we watch the film I tried to be as professional as I could but it was a tough watch. At the end of it I had my notes and was ready to get started but fate would seem had different plans. I was able to fix the footage but it took longer than I would have expected and I wanted to work on color to give this person an idea of what I can do. His plan was to use DaVinci to do the color which I had no problem doing but as I tried the normal route of transfer the file over nothing happened. DaVinci just went on as usual as if I just didn’t do what I did so I try and try again and still nothing. Not even an error code so I can figure out what the problem is. I try everything I know and nothing is working so now he tells me that this storage device is a backup as his master storage that got bricked. I started worrying that this would happen to my computer and I told him that I don’t think I will be able to do this because of how messed up your file is. To cut it short I just told him there was nothing I could do and tried to get out of there as fast as I could. He kept talking to me like I was coming back tomorrow to continue working and I tried to say I can’t but he just kept ignoring me and walked with me outside. I should mention that I didn’t have car so I took the subway to get there and luckily I decided to text a friend to pick me up because I felt like this guy was going to follow me home. I got in the car freaked out and when I got home I called the guy and said firmly that there wasn’t anything I can do and should look for someone else. He finally agreed and I haven’t talk to him since.

Has anyone else had similar experience?

I was about to throw away an old Lenovo laptop I had.

A 10 year old laptop. 12gb ram. i5.

I use a macstudio m1 ultra. 128gb ram as my main machine.

Installed Avid 2024.3 on both.

Guess what....

Avid launches FASTER on the 10 year old PC. I can't believe this crap. Moving around, opening clips is about the same speed. Using DNX media.

I knew Avid was buggy and unoptimized on Apple Silicon but I didn't expect it to be THAT BAD.

Is Avid not even trying anymore on Macs?

I'm a video editor searching a steady position, but almost every job offer I found recquieres to know how to work with motion graphics. I've worked with After Effects before and I know how to do basic motion graphics like Character Generators or simple transitions, but i would like to learn more about it. The thing is i don't know what recruiters mean when they say "You have previous work experience or knowledge of motion graphics - After Effects software". Which level? Are some specifics skills more valuable than others? What do you recommend to learn first?

Thanks in advance

I been working as a freelance video editor for 2 years now and I want to niche down to Corporate videos, but apart of VSL what else can I offer, and how I find most of the clients? And if any is on this niche, I'll appreciate any advice!

Does anyone know if it’s possible in Premiere pro to export other video objects like color bars as part of an EDL?

I’m running an experiment and I’m only able to view the main video file’s in and out points when I view the EDL in a text editor.

I'm shooting about 500GB of 4K footage to a microSD at a time and looking for a fast way to transfer the data to my PC/NAS. The transfers (via USB 2.0 - admittedly) are upwards of 2 hours for a full card.

I tried to do a simple search on speeding the process up but finding a definitive answer has been elusive. So help me out by verifying a few assumptions of mine?

• USB 2.0's theoretical maximum data transfer rate is 480 Megabytesbits/sec
• USB 3.0's theoretical maximum data transfer rate is 5000 Megabits/sec
• USB-C's theoretical maximum data transfer rate is 10,000 Megabits/sec
• V90 SD Cards - theoretical maximum read rate is 300 Megabytes/sec or 2,400 Megabits/sec
• Therefore - assuming I'm using a V90 SD Card - I need a card reader that uses at least USB 3.0 for the fastest theoretical transfer rate from the card.

Does that sound about right?

Am I loosing my mind or does this seem way harder than it ought to be.

Hoping to get some advice.

My edit team is trying to setup our assistants with 5.1 audio playback using an Ultrastudio 4k (thunderbolt 2 version as we are all on Mac Trash Cans). My thinking was: Ultrastudio 4k, SDI Out to 2
"SDI to Audio" de-embedders. I've verified that I get SDI video signal out of the Ultrastudio. Confirmed that the "Embedded audio" is set to output in Desktop Video. Jumpers are set.

I get no audio, even just stereo.

I called Black Magic support and he basically interrupted me and said "yah 5.1 isn't reliable especially with SDI to audio converters." I asked "what about stereo audio out, because I don't even get that?" and he was like "nah".

So is AJA the only solution? I really don't want to put a home theater receiver in every assistant bay. That seems silly.

Thanks in advance.

System specs: Mac Pro 2013, AMD + 64GB

Software specs: Media Compser 2022.7, Desktop Video 12.4

Footage specs : DNX115 from dailies lab

I'm used to requests for superless splits, but in the same email they asked for a clean superless split as well. Probably just going to ask the client but curious if others have encountered this term?

Hey guys. Was hoping someone here could help me out.

I'm in dire need of a new laptop as my MacBook Pro mid-2018 is officially dying.

My needs for laptop is mostly research, e-mails, writing documents etc, which the MacBook Air is suitable for. That being said, I do want to be able to do easier work when I'm traveling. I'm talking about easy transcoding of exports into different formats, subtitling etc. I do already have a perfectly good iMac setup for home office purposes. Ideally, it would be possible to make proxies on the laptop while I work from the iMac for whenever that's needed.

I'm looking at the MacBook Air 2022 8 GB RAM, M2 ship right now, does that seem like a good fit? Also willing to upgrade to the 2023 M2 ship if it'll make the difference I need.. and I have to admit the MacBook Pro 2023 18 GB RAM M3 also looks tempting, but don't wanna splurge on something if I don't actually need it.

I use premiere pro, some DaVinci. Would never cut in AVID on a laptop, haha, and I don't know After Effects. Would maybe use some photoshop but not a whole lot. I work mostly from HDD's and SSD's and very rarely with 4K files (and never 4K without proxies)

Thanks for any tips!

I have a pair of Rokit monitors I use for all my work. They sound great, but I've been wanting to get more into surround mixing mostly for fun. I have a few great surround home theater setups elsewhere in my house that I can use to really demo and QA sound, but I'd need at least a serviceable surround setup in my office to do the mixing.

Wondering what the cheapest or best way to add surrounds to my existing pair of speakers would be? An old home theater receiver? Or something more purpose-built for desktop? My motherboard only has one line in/out so I'd need some kind of interface.

The actual speakers I can figure out myself. Might have some lying around that won't sound great but will do the job. This is mostly an experiment for now.

EDIT: Appears that the mic in and line out ports on my motherboard can be configured to be subwoofer in and rear stereo in respectively. Might just try that out!

My job got me a mac mini for my home workstation, but looking for a monitor to go with it if anyone has recs!

-biggest need is something that doesn't go obsolete anytime soon - something that will last minimum next 5-7 years

-are curved screens actually more ergonomic?

-i'm a one-screen person so a slightly bigger size is preferred

-under $350 ideally, but open to slightly more expensive models if there's a good arguement

Hi Guys. Been finding helpful tips and fixes on this sub for awhile as a lurker. I have a very niche workflow I want to try get right and thought it would be good to ask here.

I am using an atem iso extreme to record 6 cameras. The atem iso spits out a resolve project with cuts on a timeline. I want to transfer that timeline to avid. I tried with aaf and couldn't get media to link. The atem is mp4 h264 files. I then tested the avid aaf export options. It renders mxf files and that works but not the way I would like. It maintains the cuts and I sent the frame handles to full extent to be able to edit. The problem is for each cut it creates a new clip and would require many tb of storage for this to work. Is there anyway to get the timeline across with only the camera clips. I tried turning of unique file names and it only linked one edit to each clip even though multiple edits per clip. Any advice or help would be appreciated. If its not possible I totally get that.

[Solved]

^(Using Premiere 2023 (24 was giving me issues with MC))

^(TL;DR in bold...)

I'm doing a lecture video where we have to switch to another source bec the original failed at some point. The lecture takes place in an auditorium and produces some heavy echo/reverb.

I've done my best to make the transition seamless, but the reverb on the second source is very heavy, and when I tried treating it with Premiere's "dereverb" feature too much, it created heavy compression sound.

I once purchased Izotope elements version 8, but that does not come with reverb, and I'm realllly tight with my budget this time of the year so I don't have even the $50 or so to purchase it (nor do I know if it will even be a solution here).

Does anyone have any tips or tricks on how to deal with this? End of the day I'll have to tell the client that it is how it is, but if I can make the client happy somehow, I'd love to get any help on this. Thanks all!

edited after confirming some details...
audio is in .wav

edit 2 -

I also tried using Autogate under "Dynamics" and as much as I tried to tweak it, there are always varying parts of the video which which make the settings at another part irrelevant (so that the "attack" or the "threshold" becomes too much, and then the audio becomes choppy). It would be too much of a pain to go through the entire thing in portions, since it's a 2.5 hour lecture

I’ve been facing a bit of a dilemma lately and could use some advice. About six months ago, I took on a client who offered low pay because I was just starting out and wanted to gain some experience. Now, I have new clients who are willing to pay more, but a significant portion of my time is tied up editing videos for the first client, who still pays less. What should I do? How can I explain my situation to him? I’m not good at negotiating.

I recently got a new 16" M2 Macbook Pro that I think about using as a second monitor for my Windows Desktop PC in my Home Office. Is there any easy way to connect the two in that case? Or maybe if that doesn't work, is there any way to use my Monitor as a second monitor for my Macbook? I also want to make sure I can use my 120Hz and not get bottlenecked to something like 60Hz if possible.

Hi everyone, I'm trying to complete my university studies and I need 5 minutes of your time

Can you fill out this suvey for me? Thank you :)

https://docs.google.com/forms/d/e/1FAIpQLSdG9dY1KlWPI5g3SEg2ZEV-GNAW5aH7_kD0C4-KqZlzBbObLQ/viewform?usp=sf_link

I'm finding more and more that Youtube is just a massive timesuck and not a good resource for learning.

A manual is easier to skim through. It's comprehensive, and you know it's not just jumping on a review hype-train and fishing for clicks.

I’m approaching 10 years doing this and living the agency life. I have won awards, I have finished big pieces, I make good money, and…… I really fucking hate my life. I am trying to picture a future without any of this, but it’s hard because it’s all I know.

Any trailer editors in here find themselves in a similar position? What did you do to move on, assuming you’ve already tried other agencies/went freelance?

Figured today is an appropriate time to start a thread about what exactly is the ideal backup strategy for Lucid Link.

About two months ago I made this post:

https://www.reddit.com/r/editors/comments/1beq8e8/lucid_link_in_combination_with_syncthing/

As soon as my data is back online I am going to implement this strategy and make sure all my Lucid Link projects are also syncing with my server.

Funny enough we are just trying Lucid for one project. If this incident happened on all of our projects that would pretty much be worst case scenario.

A colleague of mine works on another production that has been using Lucid Link for some time and she informed me they were working off local backups today. I am so curious what they were doing for local backups and how they were able to react so fast and not loose the day.

I am going to give my original idea a whirl and see how it works. We use Syncthing a lot so this would tie in nicely if it works well.

I was hired by another videographer to assist him with an event shoot, by being his backup videographer. I currently shoot with a Canon 80D, which has a crop sensor, thus lowering its low light ability compared to what a full frame camera would be. My client also sometimes shoots with an 80D, but for this event he filmed with an iPhone, while I shot with my 80D. He always uses the auto-exposure setting when he shoots with any of his cameras, but I don't. I shoot in full manual mode because I like control over my shots. I also VERY carefully monitor the histogram as I shoot scenes.

This venue was indoors and had terrible lighting. The building had high, narrow windows and most had curtains drawn over them. The lights inside the building were very weak. I was only tasked with getting B-roll footage of people inside the venue milling about, sipping wine and getting closeups of the wine bottles.

My client asked me to shoot in 60 fps, which limits the shutter speed to 1/60 minimum (I understand the rule-of-thumb about doubling the shutter speed of the frame rate, but that really wasn't an option here). If I had been shooting at my own preferred 29.97 fps, I could've slowed the shutter speed further to compensate, but his request for 60 fps didn't allow for that. So, I kept the shutter speed at 1/60 for the entire shoot. I had the aperture as wide open as possible the entire shoot. I hesitate to shoot at too high of an ISO for obvious reasons; image noise. So this shoot was a tight balancing act. Most of the time I was shooting at between 640 and 1,300 ISO to compensate for that awful lighting. Even then, the majority of my tonal values were weighted toward the left half of the histogram, where I would ideally not want them. However, I made absolutely sure that NONE of the shadows were clipping. My tonal values stayed completely off the edge, even if close at times. I also had the contrast setting in-camera set to default.....in the middle.

I don't have access to the footage I shot, but this is what my client emailed me about my shots:

"Your camera was really dark and lacked contrast. In fact, I couldn't use a lot of the footage from your camera because it was so dark and the contrast on people's dark clothing literally disappears into the background, even when I try enhancing it in post. I took out some contrast and added some light to it and it still wasn't enough"

The thing is, in addition to the lighting, the contrast inside the building was also very low to begin with because it was dim and diffuse light with really not a lot of tonal variation in the building, people's clothing or the tables. And the default contrast setting in-camera is actually quite high, in fact, being prone to clipping on both ends of the lighting spectrum in high contrast environments. So his claim about my camera filming at low contrast and then saying he "took out some contrast" is puzzling.

He then said:

"Honestly, I think it was a combination of your iso setting and your exposure. It was too low of an ISO and too dark of exposure for that indoor setting"

I even mentioned to him before we started shooting that filming at 60 fps is going to crimp my ability to compensate for the low light and require pushing the ISO. And I really don't know if he fully understands that my aperture and shutter speed were both set to capture as much light as I could possibly get and that pushing the ISO higher would introduce a lot of unwanted image noise. I did not clip any of the shadows, so I'm just not understanding why that can't be corrected in post. I did not want to push the ISO too high either. He told me that when he shoots, he ignores the ISO settings on his camera and lets them do their thing automatically and isn't concerned about the ISO values being really high. His telling me this leaves me feeling unsettled.

"I wanted yesterday to be a learning experience and an experiment before we went out and shot anything substantial or "paid" by the customer, because if they paid for that, they would surely want it re-shot."

I've shot many difficult videos in low light conditions and have successfully corrected for underexposure, so his email leaves me baffled. Maybe his editing software has limited color correction functions? In my own experience, as long as the shadows are not clipped, underexposure can be corrected and look great. Am I missing something here?

So I purchased a M2 Max Macbook Pro last night and realised because it has three Thunderbolt 3 ports in order to optimise editing in Premiere Pro am I right in thinking I should buy three Sabrent M.2 Thunderbolt NVMe Enclosure SSD Docking Stations and then use one 256GB M.2 SSD for the media cache files and database, another 256GB M.2 SSD for the scratch disk, then a third and final 4TB M.2 for the project file and source footage/rushes of a project I'd be working on therefore leaving my Mac OS and Premiere Pro software on my Macbook's internal SSD.

Is this the best way to setup everything? Or does the project file need to be on my Mac's internal SSD so its on same drive as the Premiere Pro software itself? In terms of bottle necks / read+write speeds here should I get Samsung EVO 980 Pros across the board or can I get away with something cheap like a Kingston? I'm not sure how much bandwidth Thunderbolt 3 actually is and if getting the fastest best NVME m.2 drives is overkill or not. Lastly are there any hubs or less messy/dongle ways I could do this lol

System specs: Macbook M2 Max 12 Core – 30 Core GPU

I’m going to be sending a Premiere Pro XML to a different studio for coloring and beauty. It just includes the unlinked RAW footage + GFX reference + audio stems. What would be the best way to name that file to let the colorists know what they’re receiving?

Producing a longish short film (40 min or so, scripted) and was suggested I do it on premiere productions instead of just a premiere project. Not sure if it's necessary or that it might be more trouble than it's worth.

I've used productions before on a few other projects ( 2x series and a feature). All had multiple editors and multiple AEs working at once, as well as story and archival producers using it for logging and such. But with this project, I'm likely only going to have 1 editor at a time, an AE setting it up (and maybe working alongside the editor), and me and the other producer looking at some selects and cuts.

How useful is it to use productions here? My concern is that setting up lucid link or any of the other options is going to cost a lot more than just keeping a normal premiere project. We may be adding some pickup shoots and a bit of VFX, but I don't think we'll be constantly updating the media on the project as the edit goes on.

Is productions worth it for a project of this size? Are there any downsides to using it? Also, is it a huge mess to try and migrate a basic premiere project over to productions once it's been synched and organized by shoot day?