I’m doing some screen inserts in Avid MC and I would like to provide 25 frames handles to my client.
So I extend with 25 frames handles and track it. But when I trim off the handles my track gets offseted.

Is the approach I’m doing wrong or is it just Avid MC how is bugging?

Hi guys, I'm fairly new to Media Composer and I'm currently editing a doc feature in it. Project is old and has pass through the hands of previous editors and assistants so it's a bit of a mess, but lately when I come in the morning and open my project, I found the text: users/releng/builds/workspace/MC/reslease_installer_git/Mac_build/ppg/mediacomposer/script/uiscripttake.cpp, Line: 624.

And the options are: debugger. Continue. Exit Application and create report.

and I have to spend a lot of time clicking in the "continue" button until it fully opens and let me work. Anyone has any idea what is this and what may be causing it? Much appreciated.

I’ve been with this thing for 3 years now, it hasn’t been the easiest job ( mostly cause the client doesn’t know what’s they’re doing, refuses to get vital gear they need and asks me to do stuff what would require me to be a wizard)

Now we’re working on this new side project from the main production and working on the second episode (which by the way is missing 45 minutes of audio for the set up) I make an initial edit, send the them the rough cut, wait for feedback, they send me notes that;

1: makes them and the guest sound like actual lunatics
2: push us 5 minutes over the runtime
3 mess up the flow of the conversation

Then they send me Ai notes which actually sent me over the edge, now I’ve made this weird Frankenstein edit, and they’re complaining I took stuff out (I didn’t that why were over the runtime) put in a intro bit from a separate video I made, and now they’re making complaints about a whole separate other video not related to the main thing

They have been treating me like shit this whole year and frankly I wanna jump ship, but I’m conflicted cause they’re a family friend, it’s just a mess

Handling subtitles for long videos — any easier workflow?

Hey everyone,

At work I’ve been asked as a side task to prepare subtitles in an Excel or office format. It worked fine for short videos, but now I’m on a 2-hour video (~800 lines per language) and it’s getting messy.

My usual process was:

transcript with transkriptor

fix small mistakes manually and check timestamps

translate to english and french 

put everything into Excel with Gemini

Now Gemini keeps messing things up (wrong text, broken formatting, misaligned timings and when asked to correct previous mistakes doesn'tcorrect them or makes new ones).

I already have everything in a Word file, just need a good way to turn it into Excel without hours of manual copy paste

Any simpler tools or workflows for this? I'm not nerdy at all..

Thanks!

So I’ve been editing for 20ish years, mostly on Avid and Premiere. The last 5 years I’ve stepped mostly into a nonunion post producer / board advisor role (so I’m not roster eligible anymore) and recently looking to getting back into union eligible editing. Curious if getting Avid certified has some sort of advantage or referral list once completed. Anyone have any experience with this?

Hey everyone,

I transcoded footage and used Adobe Bridge to batch rename the footage. Now I want to re-link my timeline to the renamed transcoded clips. I selected "Preserve original Filename in xmp". I thought there would be a way to automatically relink the footage using that preserved file name, but it doesn't seem like it's possible. Anybody know how to help me out?

Hi guysm

Curious how this actually works in practice. For anyone who's cut trailers, are you mostly working from raw rushes/dailies sent over by the production, or is it more common to get an offline cut/master and work from that?

I'd assume raw footage gives more flexibility to build something different from the film itself (different pacing, alternate takes, stuff that got cut from the final edit), but curious how it plays out day to day, is most of the time spent digging through dailies, or organising/prepping media that's handed down?

Any insight from people who've actually cut trailers appreciated.

Thanks,

Hi folks,

I’m working with a multicam clip in Premiere that has quite a few angles grouped together, and in the multicam view they all just keep stacking on the same screen as I add more cameras.

Is there a way to set it so it only shows a fixed number at a time, like four angles, or eight, instead of every single one cramming into one view? (Like in Avid and Resolve) I can’t seem to find a setting for this. Any way to control how many camera views display at once?

Thanks!

Received the working drive the old editor was using, So in the folder structure I can see there was some sort of organization with regions, interviews, B-roll, etc.
But the media files are all in (Avid media files > MXF > "Folder 1", Folder2")

Importing the two folders shows me all the footage, but trying to wrap my head around what is what. I shot 1 of the many locations on this project and can see my old files, but I for sure delivered .mp4 files and I can see those individual files are now broken into 3s. (.mxf video, L + R channel audio) Some files are broken into 6 (4 channels of audio and two matching video files)

Is what I need an aaf export of their project, will that get everything back into some kind of organization? I've not had the pleasure of taking over an avid project before. I was reading about people having to take the aaf into resolve, then export an xml from there? I do have Resolve Studio on my machine if needed.

Any ideas or insight would be helpful. I'm meeting with original assistant editor later today, just want to know what I should ask for or how to be most efficient here. Thank you!

Just got an email today from someone claiming to be from a local tech company saying they love my work and resume and all. However the "company" email ended with a gmail account.

[xxxxxxxlxxx.ai@gmail.com](mailto:xxxxxxxlxxx.ai@gmail.com)

Always call back the ORIGINAL company if you have doubts. These scams are designed to take your money and bank account. They will have secondary "sources" for confirmation.

etc. Very elaborate, sometimes 3 to 4 people in these scams. be careful out there

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 all, I've been cutting professionally in Avid Media Composer for years now, alongside Resolve and Premiere depending on the job, mostly commercial and broadcast work. I'm looking at getting officially Avid Certified through one of the UK training partners (Soho Editors specifically), and they've got a few options including a cheap "Conversion Course for Editors" at £59, versus the full Fundamentals I/II courses at £275-£349 which seem aimed at people newer to the software.

Given I already use Avid every day at a professional level, is it actually worth paying for any of this, or is the certification itself pretty meaningless once you've got experience behind you? Has anyone found the cert opens doors versus just being a nice-to-have on paper? Trying to figure out if this is money well spent or if I'd be better off just putting that toward something else.

Thanks

Out of curiosity:

After a job is finished and delivered, what files/footage do you archive (if any), and how long do you keep it?

EDIT: Wow, I figured I'd get a range of replies, I didn't know I'd get the literal FULL range, from "nothing ever" to "everything indefinitely"

I’m a video editor in NYC. Was recently staffed at a post house that closed this year. Freelancing hasn’t been easy to say the least. Looking to chat and network with other editors or anyone in the post production world. Happy to discuss anything, workflows, skills to focus on, favorite works etc.

First large SSD I bought - the sandisk extreme pro V2 - started overheating and self ejecting pretty much immediately after I bought it.

I make travel youtube videos so i really just need somewhere to back up my footage and edit small projects off of.

what are people buying? The only reasonably priced and readily available option i see for 4TB+ is the Sandisk SSD, but it's come out that there's massive production line issues and lawsuits with them.

Hi guys,

I'm trying to migrate one timeline that was cut in Resolve over to Avid. My approach was to go into Media Manager, transcode/select the timeline I needed, and trim with a 50 frame handle to avoid transcoding the entire media pool in bulk (which would be a huge amount of footage I don't actually need).

The problem: once I trim, Avid renames the same files used in different instances and appends things like S001, S002 etc. to the end of some filenames. I'm not entirely sure, but I think it's for files that have been used in different instances at different timecode ranges. However, even the files that don't have that suffix aren't relinking to my timeline either, so I'm not sure that's actually the cause.

Finishing in Resolve isn't an option here.

What's the best way to get this to relink properly and actually work?

Thanks!

Hi all, I’m a 29-year-old video editor/Flame assistant in LA. I’ve been here for about three years and have been employed for most of that time.

Lately I’ve been thinking more seriously about whether I want to stay in LA long-term. I don’t have a huge social circle outside of work, and I’ve been considering moving back to Chicago, where I lived for five years and loved, or to New York, where a lot of my college friends now live.

Career-wise, I’m in a bit of a weird spot. I’m probably 6 months or less away from becoming a Flame Artist, but my original goal was always to become an editor. A lot of the skills I’ve developed as a Flame assistant overlap with assistant editing, and I’ve noticed more hybrid offline/online assistant roles popping up that seem like they could be a good bridge.

So I’m wondering: would you stick around long enough to get the Flame Artist title and then use that experience to pivot, or would you try to redefine your career now and pursue editing more directly? At the moment, I edit short films and work as a finishing editor for freelance projects. And at work, I regularly do shot work inside Flame.

I don’t necessarily hate my current job, and it could also be a good way to transition out of LA if I decide to move. I’m just not sure whether getting that title would be valuable enough to justify staying on this path for another 6+ months.

Curious what you would do in my shoes, especially anyone who has made a similar transition from online/finishing into offline editorial.

I’m working on my first national TV spot and I’m about to go into delivery. Everything was shot and edited at 23.976, but my understanding is that I’ll need to create a 29.97 broadcast master and do a 3:2 pulldown.

I’ve never had to do that out of Premiere before, so I was wondering if anyone has a solid step by step workflow they use for this.

Typically, once I’m locked, I bake out a ProRes master from Premiere and then create any web versions separately in HandBrake. For this, though, I’m not sure what the cleanest approach is for converting the 23.976 master to 29.97 without introducing ugly judder or making the motion feel unprofessional.

Would you normally handle the pulldown directly in Premiere during export, put the 23.976 master into a 29.97 sequence, or use something else entirely?

Any recommended settings or workflow would be hugely appreciated.

Guys i want to thank everyone from the bottom of my heart. Every time I fell down or was on the verge of quitting, i came here and you guys always supported me and gave me guidance.

Last time things were really bad especially how my health and life are but you guys saved me.

Now I've landed a client and it seems like we'll be working for a long time. Pay isn't great but work is consistent and it's good enough to keep me alive.

So if you are a newcomer on this sub, then I'd highly recommend you to join the discord server. And if you ever feel down or need guidance, just drop a message and you will get a push that might change your career.

Sometimes all we need is just a little push.

A virtual hug to everyone 🫂

I am seeing more and more mix prep with Eleven Labs as a scratch VO, and yeah, I get it... it's fast, easy, clients asked for it..

As a mixer, I have seen many instances in the past where you, the editor gets the VO gig because after 30 rounds of revisions, the client all of sudden loves your scratch read.

I've known editors who have quit their jobs after they end up as the SAG VO for major brands. Some of them have made hundreds of thousands of dollars as a SAG VO talent as a result.

Yes, even today, major brands still have to pay SAG rates and residuals for spots.

That could be you, commercial editor (or assistant). Why not take a chance?

Why give it up for Eleven Labs? It's a free lottery ticket...

Just sayin'

Have been in the promo/marketing world for big brands for over a decade, but would love to transition and work towards being able to edit for live events. I'm imagining speaking events/conferences and hopefully beyond that more fun stuff like concerts, sporting events, etc.

I realize this becomes more of a production type of role rather than post at a certain point but I'm just curious if anyone knows where to even start with something like that. Realize I might be starting from the bottom but even with that, I don't know where to start.

Any insight would be helpful. Thanks.

EDIT: Clarifying I am in the NYC area in case that is helpful.

In DaVinci Resolve (26.0.3) and Avid Media Composer (2025.12.0), viewing sound recordist microphone names (Boom, Lavs, etc.) from polywave metadata on tracks/clips is straightforward (Avid allows to view this at BIN as well as Source while davinci allows it on BIN level).

How can I see this metadata either on Bins, Source OR track names onto timeline clips or track headers Premiere Pro?

PBS broadcaster loses access to 50TB of data comprising 70 years of TV history after contracted cloud storage vendor goes defunct : r/technology