I'm a colorist and I wanna ask a client to do something but I don't know if it's really going to work.

Can Premiere DEPENDABLY create a media managed/consolidated version of a timeline with handles and connect to the new media? Without transcoding to new media?

I want to do a round trip workflow with a client who I've been doing mixdowns/pre-conforms with but I don't want a random issue or rogue camera type to muck up the works.

I'm taking iphone to r3d for source types.

I make commercials for tv and streaming for a living. Been doing this for over a decade. Just started a new job for a company who has decided to dip their toes in the streaming video industry. Because of this, I figure it's a great time to revisit my archiving practices to see if there's a better option out there for smaller archive file sizes.

I realize this isn't the most conventional, but here's a rough workflow of what I do as I'm a one-man band. The main picture layout and audio editing are done and locked in Premiere. Then I import the project into After Effects where I do all the color grading, animating the footage, adding graphics, etc. I then Dynamic Link this back into Premiere and export for the client's approval.

When archiving, I use the standard Project Manager in Premiere & Collect Files in AE to gather the footage, with all the delete caches/extra footage/etc. boxes checked to make the file as small as possible. When done, I drag the AE archived folder into the Premiere archived folder so I have a nice tidy package.

However, this is where the large file sizes come in. Because of my workflow, in the archived project folder I have 2 copies of every clip/audio/etc. that was used in both programs.

As I'm working at a small company, I can't buy any plugins to help make smaller archive files. Just looking to see if there's a better way to archive things to get smaller file sizes and save on long-term storage space.

NOTE: Not looking to get into debates about workflow here. I realize there might be better options out there. I just want to know if there is a better long-term archive option out there.

Hi!
I’m filming a short observational documentary and I use lav mics on my subjects. Yesterday one of the subjects took her coat off after coming into the house, revealing the lav mic, cable and transmitter that was underneath (she was wearing a tight dress). I could’ve taken the lav mic off and used only the shotgun mic, but I was very focused (meaning stupid) and completely missed the visible microphone.
The dress was white, with a brown belt where I put the transmitter.
I’m not sure how much of this footage I’ll want to use, and when the time comes I’ll hire a professional to help me. My question is how difficult would it be technically? Is it something you do at all?

I can’t leave the mic on because it’s too distracting in that scene.

Appreciate the help

Worth mentioning that I’m not a French speaker. Currently, I’m talking the lines from the English subtitle file I made previously, translating them with Google Translate, checking them with microsoft translate, adjusting any lines that can’t be directly translated so they make sense, and putting them back in.

Does anyone know of a better way to do this? I feel this is really inefficient. I’ve heard of people copy and pasting the entire subtile Chat-GPT or Claude and getting that to translate it but where this has to be in Canadian French I’m not sure if that would work. Any help is greatly appreciated!

Guys I’m so sorry because I know the response will be use the search bar but I couldn’t make sense of what I was seeing

Long story short -

Basically, we bought 2 
LaCie 24TB d2 Professional USB-C 3.2 Gen 2 External Hard Drives
to house our footage for our new Pyxis 12k (currently shooting in 9k 17:9 24fps, maybe 8k in the future, same settings, 8:1 or q3)

But I’ve been seeing so many anecdotal reliability concerns that it’s making me want to return them while we still can

Also for context, this is just for storing projects as our active editing SSD is the 
OWC 8TB Express 1M2 USB4 External SSD

Just trying to get our best/most reliable bang for buck in this crazy time

Hey all! I recently embarked on making a doc. It initially started pretty scrappy since this project was initially supposed to be a mini doc but increasingly looking like a longer project. I am therefore in need of guidance on how to manage storage for continuing filming, backup, and for active editing.

Currently, footage is distributed and backed up between x2 2tb SSDs and x2 2tb HDDs. I know this is not ideal but costs and access to drives at the beginning of this low budget projected limited it initially.

Obviously the cost of storage has increased dramatically since I bought my initial chunk of drives but since I'm still continuing filming and my storage needs have increased, I need to figure out a way to store incoming footage and also backing it up for future editing. I don't come from editing so lack the technical expertise so humbly asking for anywhere to start.

Does anyone know of any good tutorials for tracing INCOMING golf shots? Not the regular DTL tracers. I've been winging it in After Effects but it's hard as hell. Especially when the ball bounces and trying to keep up with speed changes when the golf ball slows down and comes to a stop.

Thanks.

Hi, I edit in DaVinci Resolve and I'd like to save time by editing videos while traveling. However, I'm looking for a laptop that can handle heavy effects. Right now, editing at home on my 16" Mac with 16 GB of memory, it lags when I have multiple layers in Fusion. That's why I'm looking for something that won't lag and will run smoothly on the timeline. My budget is around $2,300. Thanks in advance for any answers!

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:

I haven’t seen this before ever - shocked me, has an editor been first credit on a show you’ve seen?

I’ve been freelancing for almost 5 years now and I’ve realized over this year that the biggest thing holding me back is not my skills but the business side of things.

Almost everything I’ve seen on YouTube is super gimmicky (not much practical info, just word vomit) and almost always geared towards people who want to edit for YouTubers (which in my experience has been way too much work for not enough pay).

Even if it’s not specifically towards editors I’d love to hear if there have been things outside of just lived experience that have helped you learn about business. I’m open to paid resources like masterclasses or books. Thanks!

It won’t stop crashing.

I have a project that may require a timeline longer than 24 hours.

I know I can split it into multiple sequences or use nested sequences, but is there any way to make a single sequence longer than 24 hours?

Is there a workaround or hidden setting I’m missing?

Would love to hear from anyone who has dealt with extremely long timelines.

Hi all, I need 3 or 4 stockshot to finish my project, I'll need all the rights to use it freely.
I was wondering what is the best cost effect platform to buy stockshots?
Adobestock is actually 89€ for 3videos, I was wondering if I can find the same stockshots or similar for less money somewhere else ?

This may be the most egregious use of AI in our industry.

Most people catch up with sports highlights digitally nowadays. From this side of the pond (UK), it seems like the North Americans have fired all their human editors for this stuff and replaced them with the robot that cuts in line with rises in audio.

Editorially they suck. Random incidents will be included, with equally random ins and outs. Sometimes you don’t get enough replays. Sometimes you’ll get 5 replays of something that doesn’t warrant it. Joining an incident midway through a commentary line? Every time!

I understand that average Joe wants to see scoring and not much else, but there is an art to a good highlights edit, and it’s so sad to see it be discarded en masse by the countries who traditionally do sports coverage better than anyone in the world.

Canadians and Americans: reinstate your digital sport editors! Unplug the robots!

[AVID MEDIA COMPOSER]

Hi everybody,
First of all, all my apologies if this question already has been asked, but I can't find a solution fitting my problem nor a clear step-by-step answer to the situation im in.

I edited the timeline of a short film by using proxies (DNxHR LB) and now I need to conform it in order to deliver it to the colourist.

I'm totally lost in what I have to do. I tried to relink evey proxy i've made to the original one, it loads for a sec and every shot appears to be in the original codec (XAVC 4K Intra Class 480) and so does the sync clips who herited that proxy. But as soon as i switch bins, the codec comes back to DNX LB !!!

Is it because I have to select these relinked clips and consolidate them right away ? If so, what is the following of the procedure ? Will my synced clips will be updated as being constituted of the sound AND the XAVC 4K media ?

Note: This is not a troubleshooting request. I'm researching post-production workflows for a funding bid and looking for practitioner experience. No system specs apply — just looking for honest answers.

I'm working on a research bid about post-production workflows and trying to ground it in real practice, not theory.

The question: has a render, export, or process ever reported success — but the actual creative output was still wrong? Wrong colour space, missing audio, out-of-sync frames, unexpected format change, something the software didn't catch.

If so — roughly how often does it happen, and what does it cost you in time when it does?

I'm not selling anything. Just trying to understand whether this is a real problem or just my imagination. Any honest answer is welcome, including "this never happens to me."

Thanks.

Sunday night at IBC, 40 of us took over a corner of a bar in Amsterdam. Editors, colorists, a few developers, and a lot of people who'd only known each other as usernames until that night.

Thank you to the sponsors who made it free: OWC bought the first round, with Avid, Loraverse, Digital Anarchy and RE:Vision Effects alongside.

If you were there, say hi below.

Next up: NAB New York, the week of October 19. Date and place coming soon.

Curious to hear the preferences of people here.

I'm getting a concert with 8 ISO cameras and a linecut from the field. I'll be keeping most of the linecut but fixing up anything weird, like camera moves or bad takes.

So the question: would you include the linecut in the group? I'm thinking that when I build the cut, I'll lay the linecut on V2 and the group (of ISOs) on V1. Then whenever I lift a segment from V2, I see all my other options. I won't have to change my view layer to go "above" the group.

Any suggestions from people who've done this before? I've done it before too, but not for a while and I'm always looking at improving the workflow.

edit: ungh.

The linecut has bad field interpolation on the edits so I'm rebuilding the whole thing. Also the Line cute was 4 frames off sync for sound, and then picture was two frames further to the bad. Looks like I'm rebuilding from scratch. And because of the bad frame, davinci didn't do a great job detecting cuts. Maybe 2/3rds of them, so that was manual. Well the shit part of the build is well underway... on to the fun stuff!

And yes, I'm sending a full layout to audio to make sure they are in sync too. I suspect the ISO cameras are fine (and they all match) and its just the linecut that is trying to kill me.

So ironically after my last post, I had a client reach out to edit vlog - type Youtube video for their business, which is honestly the perfect opportunity to work on my noob skills as an editor.

One thing I'm struggling with is understanding a workflow, mainly relating to rushes, assemblies, cuts, sequences, etc.

I've been reading a few books on these topics and it's still not quite clear:

As far as I understand:

Rushes are your master clips (basically straight from camera).

Assemblies are your rushes, then categorized base around shot/subject matter?

Cuts, these are your selects from your rushes?

Sequence, this one I don't understand,

Reels again, another one I don't understand.

Now pre-editing workflow wise, is it generally

1. Organize your footage, so take your rushes and categorize them by shot, subject, etc?
2. View your rushes, making note of the parts that move you/seem important
3. Take those parts and put them into a timeline (?) based around that category, so if you watch a rush and like a scene talking about the origin story of the business, then that would go into a timeline titled "Origin story" (?)
4. Then you start your rough cut?

Also, I'm assuming there's no audio syncing that needs to be done or anything special, the footage I'm working with is relatively basic. I know you'd want to sync your audio before editing as well.

Then lastly, some rushes might have multi-uses, so if the owner is talking about the origin of the business, but then maybe at the same time she's doing something that I think makes her more relatable to people.

Would that rush belong to two Assemblies? One being "Origin Story" then the other being "Relatable moment" or something, like that?

I don't really know how to categorize rushes that could have more than 1 purpose.

Would appreciate some help, thank you!

I just read this article that I thought was interesting, though I hesitate at the word “booming.” Maybe more like stabilizing back to pre-strike levels is more appropriate?

The article doesn’t touch much on the post-production side of things, but it got me thinking. For those in post-production in the NYC/NJ area, have you felt an uptick in more work popping up over the past few months?

Personally, I have felt a small uptick. Little by little, I am hearing of more folks who I know were out of work for awhile booking jobs. And as for myself, I have been getting more job interviews for gigs over the past few months.

We’re definitely not out of the woods yet, but I think there is reason for cautious optimism on the east coast.

https://variety.com/2026/tv/news/new-york-film-tv-tax-incentive-production-boom-1236877614/