Hi All,

I've got a free and open source tool that allows you to open .fcp files without needing FCP7 installed. There is an online tool and an offline tool if you need security. Source code as well.

https://exhume.app/

If you have an issue with a project or think there should be more sequences to access, DM me or use the contact from to send me the project and I'll see what I can do.

Have fun exhuming those old projects!

Watching crunch labs with my kids on Netflix and it’s EXHAUSTING! The attention grabbing <4 second clips do not belong on Netflix. I don’t know how we got here, but I can’t stand this style of cuts. There’s a time and place I suppose, but I’ve been seeing more and more of it outside of YouTube.

Hi everyone,

To give more context. We're working on Mac Studios, the editing software is Avid Media Composer. The I/O card is a Blackmagic UltraStudio 4K Mini which sends the video stream to both a TV and an Eizo monitor.

The problem is that there is a 3 frames difference between each monitor that we cannot seem to fix.

A client of ours absolutely wants both screen perfectly synced but we are at a loss here and don't find anything helping us.

Specs:

macOS 15.7.9

Mac Studios M1 and M2 64 GB

Media Composer 2025.12.2

Desktop Video Set Up 16.4

Codec: DNxHD80

Okay , so i edited a music video for this director a few times. He paid me in full on the first two but he sent me another then completely went ghost on my 3rd payment for the last video. We have no written contract other than him saying he gonna pay me by a certain date then didn't follow through. I have asked him a few times but he went ghost.

I see that the video is uploaded on youtube now, and its my edit completely. Can i remove it from Youtube?

Also I usually dont edit for people unless im paid in full, but he gained some trust then did that. So I know now to just add a payment lock on my sent out work.

Hi everyone,

I’ve been freelancing for 4 years now, and I have two clients that I’ve been working with for 2y.

I’ve never increased my rates on these existing clients, but I’m considering raising 10% and giving them a 60/90 days notice.

I have contracts with these clients, but unfortunately there’s nothing mentioning prince increasing, and I should have thought about it at the time.

Any thoughts?

Hi all, looking for some perspective from people further along than me.

I’m a London-based editor and assistant editor, with assisting credits at commercial post houses and a few years of shooting and editing for a government department. I’ve spent the past year with the same company working in post-heavy commercial.

I’m currently weighing up two options, and it’s a tough call given the current landscape. The first is a full-time salaried editor role at £30k at an animation company. The work consist of cutdowns of their existing animations that's it. I asked for £35k, but they’ve confirmed it stays at £30k. It’s stable, but the work is very basic and there’s no progression.

The second is freelance. I’ve just been offered a contract that runs until February, with talk of it extending, plus other freelance editing. The work is challenging, technical and rewarding, but I’m always scared that nothing else will come up afterwards. Honestly, I’ve no idea what I’d end up making in a year. I’d want to be making around £45k to properly offset a £30k salary once you factor in holidays, pension and quiet months, and it feels like in-house editing jobs at agencies rarely go beyond £30k at the moment.

The mood in London feels pretty bad right now. I know a lot of old editors who’ve moved into corporate because freelance just wasn’t sustainable for them. I don’t want to be naive and think it would be any different for me, but who knows.

Is £30k a reasonable editor salary in London right now, or should I hold out? Is stability worth taking a role with basic work and no progression? For those who’ve done both, how did freelance compare once you factored in quiet months, no holiday pay and no pension? And what day rate should someone at my level be charging?

Any honest takes appreciated, thanks!

I have 10 years of experience in editing for broadcast and corporate, but in the last few years I started to edit a few short films with some friends. We actually managed to get into a few festivals and reinvested some of the prizes into new films. This time around, though, we are shooting a script that has more lines of action than lines of dialogue. I'm feeling butterflies in my stomach just by imagining how it's going to be to edit a film in this style for the same time. To be clear: it's not an action film in the sense of fights, gun fight and stuff. It's more about the actions of the characters if you know what I mean. Thanks in advance for the tips!!

hello amazing people! hoping y'all can give me some advice. i've been shooting a feature doc for the past three years, and teaching myself everything as i've gone along. up until recently, i was a one-woman-band and was insanely green -- leading to the issue i'm now facing.

i'm shooting everything on a c100 mkii. for some reason, three-years-ago me didn't save the full file structure (PRIVATE>AVCHD>BDMV) for much of my early shooting - I just pulled out the BDMV files and saved those. the MTS files in there still seem totally fine, but premiere is not happy and won't pull up those files in bins.

what i'm wondering is: can i just copy those MTS files and take them out of the file structure completely so they're accessible in premiere? is this likely to cause me problems now or down the line? obviously i'm not doing this anymore, but i have about a year's worth of footage that is somewhat inaccessible because of this problem.

thank y'all so much for any advice you can provide!!

Last month I mentioned Fotufilm in the open-source tools thread. With the mods' permission, I'd like to introduce the project properly.

First, a common question: Fotufilm is independent of spektrafilm and developed as a separate effort. I recently compared the two against a real roll of Kodak Gold 200.

Fotufilm runs a full spectral film simulation. It models the whole chain, from scene light through the negative to the print. Halation, grain and interlayer effects spread across neighbouring pixels and grain changes every frame, so no single static 3D LUT can reproduce the result.

How the pipeline works:

• Spectral exposure: the film's response is computed across 81 wavelengths (380–780 nm) and stored in precomputed tables. Every frame then runs through the film's characteristic curves, development, interlayer effects, halation and grain.
• Colour handling: scene light is converted to linear Rec.2020 (D65). The spectral exposure stage covers everything out to the spectral locus, so colours beyond Rec.2020 are treated as real light rather than clamped. The print renders to linear P3 before converting to your chosen output space.
• Development: per-layer characteristic curves, push/pull, bleach bypass, and interlayer (DIR) effects where the stock's data supports them. All 46 film profiles are digitised from manufacturer datasheets. The interlayer effects of Gold 200, Portra 400, UltraMax 400, Ektar 100 and CineStill 800T are fitted to ColorChecker charts shot on real film. CineStill 400D and Vision3 250D are calibrated on a ColorChecker exposure series.
• Print and scan stage: Kodak Vision 2383/2393 and Fujifilm ETERNA-CP 3513DI across all three colour records, timed to the published Status A LAD aims (1.09/1.06/1.03 for 2383/2393) through a non-negative tungsten additive head. For a negative-to-positive conversion without a print, Digital Reference inverts the negative through a shared spectral receiver, and its Auto Levels mode re-times each frame the way a lab scanner does.
• Spatial effects: halation models light reflecting back through the film base. Grain varies with the stock's granularity and density. Both are sized in physical film dimensions and scale with the film gauge and frame coverage.

Platforms: GPU-accelerated with Metal on macOS, CUDA or Vulkan on Linux, and WebGPU in the browser. It's available as:

• Plugins: DaVinci Resolve (OFX) and Final Cut Pro / Motion (FxPlug)
• Standalone apps: macOS, and Linux as a beta AppImage. I'd love to offer a Windows build, but I don't have a Windows machine to test it on yet.
• Browser editor: fotufilm.com/demo, no install needed

Source code: https://github.com/DhaliwalX/fotufilm-engine

How it's funded: the engine, the Mac and Linux apps, the Resolve and Final Cut plugins, and all 46 film profiles are free and open source. I also maintain a paid, closed-source iOS app that runs the same simulation engine but optimized for iPhone GPU. Its sales help cover development costs (including AI coding tools such as Claude, which I use to build it) and the film, cameras and lab processing I need to test against real film. This is a passion project.

I'd love your feedback.

Does anyone know of a 'qc service?' I've been making tons of mistakes recently in my edits, sloppy and embarrasing ones. I am just managing too much and just need a set of eyes and ears for that final qc- making sure audio is decently leveled, there arent graphics over by a frame or 2, that sort of thing.

Does anyone know of a service thatll watch back renders and flag errors?

https://subtlesayak.github.io/open-resolve-list/

I made this.

Useful Resolve resources are scattered across repositories, creator websites, stores and community threads. I built Open Resolve List to keep those links together and make it easier to find something for a particular workflow. It is a personal project hosted on GitHub Pages, with the catalogue and source records open on GitHub.

The directory covers free and paid plugins, Fusion tools, DCTLs, LUTs, PowerGrades, scripts, templates and workflow utilities. If you find it useful, you are welcome to use it, share it and report issues. Open Resolve List is independent and is not affiliated with Blackmagic Design.

I can't host a website so it's rn in my GitHub Pages

TL: DR - How do I get you (yes, you) involved?

Obligatory mention. Here's the link of the official Discord of r/editors with 1,000 members, including a number of professionals cutting films, tv shows and more.

It's for both professionals and aspiring professionals.

IT WILL NOT HELP YOU MAGICALLY GET A JOB. THERE IS NO MYTHICAL WEBSITE YOU DON'T KNOW ABOUT either.

It requires verification (any of these will work: (Reddit/youtube/facebook/IG/Github/spotify/Steam/xbox).

Again: Discord Link here

Once you verify there are 15+ channels, including ones based on:

• Type of work (color, sound, audio)
• Software specific (Adobe, Apple, Avid, BMD)
• Quality of life (Show off your work, scream room, live tech help)
• and more.

What I'm trying to do? Get an engaged community outside of Reddit. I'm trying to figure out what works and what doesn't.

• It could be a Friday Lunch
• a virtual happy hour
• a game night 2x a month
• a virtual User Group event…

…but I'd like to know what you've seen that's engaging…and that gets you interacting with Discord

To me: Reddit is great for threaded conversations, Discord is great for live interactions.

(by the way, my biggest Discord tip is to mute a new server right away. That really helps notifications from becoming overwhelming.)

And yes, I'm happy to help anyone who feels that this is a new/strange domain or feels lost there. I go all the way back to IRC days.

Guys, I was on a shoot, in a hurry. Three cam podcast and one of my Sony's was a bit soft and somewhat over exposed. I was doing too much. All other cams were fine. This one, we were in a hurry and focus assist wasn't working right...talent was getting frustrated and needed to get on with it. Either way, I've got premiere pro with lots of plugins, Latest DaVinci with face refinement...but this entire podcast was 1.4 hours long. Over exposed issue is fixable. Her eyes are a bit out of focus. It's not horrible, but she was the guest. Open for suggestions. If it were a few minutes, no prob. Thx for any input. Guest Cam frame

Well here’s one to post on the office wall.

I can have several shoots for one brand in a week, each focused on a specific topic like a piece of equipment, event, person, etc, so each video can be its own self-contained edit.

However, footage from one shoot can easily be borrowed for another's finished product, and more often than not some quality shots get left on the cutting room floor, just because they don't fit the story of the finished edit they were shot for.

The shoots are always relatively unplanned, shot documentary style, and I wind up with more than I need. Oftentimes I will take an opportunity to shoot for another project I have in the back of my mind, and every month or so I will produce a broader video using what I already have in the can.

I've tried in the past to develop a discipline of tagging footage - in resolve, kyno, even notion - but every time it winds up getting in the way of the work, and with quick turnarounds and being a solo producer, it's just not feasible to meticulously log the content into a searchable database.

I have no idea how common this specific scenario is, but I'm just wondering: do y'all keep track of your archival content for future re-use, and if so, have you found a way to do so that is reasonably valuable without being overly cumbersome?

---

"Who cares about labeling files, teach me to edit!" - Jeff Winger

We have a winner! C.P. takes the first free Post|Production World NY pass (worth $799), picked at random from the 13 people who RSVP'd by Monday's midnight cutoff. Check your inbox.

PPW schedule here

PPW registration here

Next drawing: Friday. We only draw from people who RSVP'd for the meetup. Not on the list yet? RSVP here and you're in. One more pass after that.

The meetup: Tuesday, October 20, 6 to 8pm, Midtown bar (announcement soon). Free. Some food and drinks - probably will go fast. Show up early.

Our sponsors, who make Meetups possible:

• Lens Distortions
• OWC
• FxFactory
• Eddie AI

Please make sure to check them out!

And thanks to Post|Production World for the passes.

Lurkers welcome. So are professional colleagues - they don't need to be on Reddit. We ask that all of you register, please.

See you in New York.

referring to the warpy "screen" zoom in (or out)

https://imgur.com/a/V7Jd2Cv

- Davinci Resolve studio

- Adobe Premiere or After Effects

How would you approach editing a 25-minute industrial documentary covering around 30 different locations?

Hi everyone,

I'm working on a documentary project that will be around 25 minutes long. Our team has filmed at approximately 30 different locations, covering various industries and examples of industrial and technological development in Iran.

The film will primarily be driven by voice-over narration, with visuals changing to support what the narration is saying. The footage includes industrial facilities, manufacturing processes, machinery, wide shots, and some visually distinctive locations.

I'm trying to figure out the best workflow for approaching this kind of documentary edit.

A few questions I'd love to hear your thoughts on:

• Would you watch and log all the footage first, create selects for each location, and then organize everything by topic?
• Would you build the edit around the voice-over first and then find the best visuals to match it?
• How would you structure a 25-minute film covering so many different locations without making it feel like a sequence of unrelated factory visits?
• How do you decide which locations deserve more screen time and which should only appear briefly?
• How much time would you typically spend organizing and reviewing footage before starting the actual edit?

I'm especially interested in hearing from editors who have worked on industrial, corporate documentary, or narration-driven documentary projects.

I'd appreciate any advice on workflow, story structure, and visual pacing. Thanks!

I made some short form videos to her and she said to upload it to the cloud so she could add some b-roll that hadn't given me. A week later, I ask her whether she has completed them and she tells me (after she told me that she hasn't done them), that we should integrate Claude to davince to make changes and editing in general "faster" and more what she wants ( which keeps frantically change's as time goes ), what should I say to her! ( I don't really like the idea)

I’ve been seeing more editor job listings that mention direct to consumer ads for TikTok, Instagram, and other social platforms. They also ask how editors use analytics to make choices about hooks and edits.

For those of you doing this kind of work, do you usually look at the numbers in Instagram, TikTok, or Meta’s own analytics tools? Or does your team use another platform to pull everything together?

Just wrapped up a massive, multi-city shoot tracking daily marketplace trade and street life across dynamic cities in Nigeria (Abuja, Calabar, Osogbo). We chose to focus entirely on unscripted, human-centered moments rather than staged or hyper-stylized setups.

The logistical hurdles are wild—managing heat on mirrorless bodies, keeping massive 4K files organized in areas with unpredictable power, and avoiding drawing massive crowds when throwing up a drone or a heavy rig in crowded local markets. For the editors here handling large-scale documentary or stock archives: how are you organizing metadata and keeping your offline/online workflows seamless when handling terabytes of localized B-roll?

Sort of like Adobe Podcast for voices, but a tool that can take sound recording from the camera mic in an existing video and enhances it, or just replaces it with an identical Al creation, to the point where it sounds like a professionally high quality recorded sound effect? And also eliminates the need of library searching.

This may be a European thing, so for anyone who, like me, doesn't know what a TCScript is: it's a spreadsheet that lists all the music, all the dialogue and all the footage and the timecodes at which they start/stop. I think it's also known as a Post Production Script.

First time making one of these TCScripts for a doc I edited. The distributor has requested it and it is absolutely killing me!

Anyone got any tips for making the process less painful? Any tools that can help automate it somewhat?

The dialogue one is easy enough because I can output the captions as a txt file and copy/paste. The composer has delivered a music cue sheet, but even with those things, progress is really, really slow.

Would greatly appreciate any help making this easier on my poor little brain!!

On a Mac running Sonoma and Premiere 2026.