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.

Hi

Producer (not editor) here- I have a stack of Beta SP tapes (in PAL) gathering dust which I'd like to digitize before they *become* dust

I'm at a station where there are a bunch of rack mounted decks (DNW-A75s) but the routing is not PAL friendly so I'd like to (if possible) get cabling to hook it directly to my MacBook to ingest video... but have no idea what gear I'd need... any advice would be very welcome

(Last time I did this about 20 years ago was via a more modern J-3 deck which had a DV output when I was transferring some tapes to mini DV)

At NAB New York next week? On Reddit? Then come have a drink with other Redditors.

Tuesday, October 20, 6 to 8pm, at a Midtown bar. Free.

Two hours of drinks with people from r/editors, r/colorists, r/premiere, r/davinciresolve and more who actually do the job. NO MARKETING

RSVP here ASAP.

GIVEAWAY: One of three Post|Production World NY passes gets drawn Monday night. RSVP by Monday, October 12 at midnight ET and you have a chance to win! The other two passes get their own drawings later this week.

Not sure what a PPW pass gets you? Here's the schedule. I'm teaching five sessions that week, so come say hi in a classroom too. If you'd rather not leave it to chance, registration is here.

If you're a lurker... yes, you can still come to the meetup. Can you bring someone else to the meetup? Sure. They don't need to be on Reddit.

See you in New York.

I've been editing for about 20 years. It’s happened to me quite a few times that a client comes back months or years later asking for an old project to be re-cut or re-exported with minor changes. It costs time, but the bigger cost is storage: keeping old projects on hard drives or in cloud storage just in case.

I'm researching how other editors handle this. Three questions:

1. Where do you keep finished projects (drives, NAS, cloud, LTO), and how long do you hold on to them?

2. When a client last came back for an old job, how long did it take to get everything running again, and was that time billable?

3. Roughly what do you spend on keeping old work accessible?

Happy to hear what has gone wrong as well as what works.

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:

Hi All,

This is the closest sub I can find for this question. I'm trying to pick up freelance work doing Master QC. I'll list the requirements below. My main question is: how can I learn these types of skills if I don't have them? Online resources are limited, especially for hands-on training on the Clipster and Trankoder. Any help would be appreciated. Thank you!

7+ years of experience as a Mastering QC Operator in a professional post-production facility or studio.

·       In-depth knowledge of film, video, and audio impairments and their underlying causes.

·       Extensive experience with SD, HD, 2K, UHD and 4K formats, as well as HDR10 and Dolby Vision content.

·       Extensive experience with file-based workflows, including TIFF, DPX, J2K, DCP, Apple ProRes and IMF packages.

·       Strong proficiency in Clipster, DaVinci Resolve and Colorfront Transkoder, including building timelines and configuring output settings and bin clip properties.

·       Ability to read and interpret MaxFALL and MaxCLL HDR metadata reports

I’ve shot two spec ads and they were decent but no where good enough to work with those big brands . Any advice as to how someone up and coming could work with Nike or adidas ?

I am editing a feature and want to see my program in a large monitor instead of as part of the main panel where the timeline is. I have a flatscreen smart tv on the wall but wondered if using an actual monitor made for use with a computer is beneficial in some way.

I edit with an AMD Ryzen Threadripper 1950x 3400MHz powered PC on win 11 and use Premiere 2026 to edit. 16 cores / 32 threads / 64GB RAM, 8GB AMD GPU, fwiw. My main monitor is a widescreen standard HD LG monitor. I am editing prores 2KHD 1920x1080 proxies from DaVinci but will ultimately export 4K for the final delivery. I think having a 37" to 43" screen makes sense for my space.

Could I have the program monitor as a 4K monitor that would run alongside my 2K HD widescreen monitor? Not sure if I need that or not, tbh.

I will not do the color grading, just the picture editing and titles plus basic VFX stuff like muzzle flashes, blood splash, etc... Pretty basic stuff. I just want a bigger screen to see the contents of the program better. Probably want to spend up to $350.

Thanks for your expertise ;)

Not great at Reddit, but here goes.

I'm currently on my second-ever DIT gig, and I'm having some trouble. When I backed up one of today's cards using Resolve's Clone Tool (with an xxh64 checksum) and tried to verify the MHL in Seal Verify, it wouldn't progress. It just got stuck at 0 bytes out of [total].

I then tried backing it up with Offshoot (trial version), thinking that might fix the issue, but it still got stuck when i tried validating in Seal Verify and wouldn't progress.

We have three cards in rotation, so we're still safe for now, but I'd really like to get the backup verified rather than just "trusting" that it worked.

What should I do?

System specs: AMD Ryzen 7 5800H with Radeon Graphics (3.20 GHz), RTX 3070 + 32 GB DDR4 // Software specs: Resolve 21.1.1 & Offshoot 26.3 // Footage specs : ProRes 422 HQ, Opengate, Codex.

I am looking to build a new insta channel and need someone who can do crazy-level video editing and script writing.
Need this on a monthly basis.
Dm me with your work - will discuss the commercials.

Thanks

Hey everyone!
I’m looking for a MacBook Pro mainly for DaVinci Resolve Studio. I work with 4K 6K footage in ProRes, H.264, ProRes RAW, color grading, Fusion, and effects like Film Grain and Halation.
My budget is around €2,500, and I’m wondering which MacBook would be the best choice for my workflow.
Is the M5 Pro with 24GB RAM and a 15-core GPU a good option, or are there better alternatives for this price?
I’d love to hear your recommendations and experiences. Thanks!

I've inherited a project from someone else (documentary) and have my first real situation with unrealistic and unreasonable expectations from my boss (director/producer/editor). After having previously done some work with him as his assistant editor and editing smaller projects. For example, on a related project I made 10 or so 5 minute scenes for a live show. This project however is much larger in scale and it seems like he is not reflecting that in what he expects. For one, I've come in half way, basically had to reorganise and start from fresh which isn't being reflected in any timescales, but he seems to expect me to be able to hit deadlines which are basically impossible given as I am only contracted to to work for him 3 days a week (for context in that time I am being asked to basically finish and foley nearly an entire 40 min episode which I think is pretty unreasonable, especially to do to a high quality). I think the main problem is that I am constantly being asked to show my work with shorter deadlines which really negatively affects the amount of time I have as it forces me to break up my workflow (for example, I would normally wait to do a lot of things after when I'm completely happy with the story but I feel I have to instead do a lot of the tedious things earlier which obviously sets me back if it has to change). I've tried before explaining that there is going to be some sort of trade off to working at speed in the quality that I can produce, but because I am very much the junior in this situation it feels like I have very little fightback. Would anyone have any feedback because I'm still new to this career and want to know how I can deal with this.

Looking for some opinions on untangling a web. I'm working on a short film. The film was shot on 35mm and scanned to dpx. The lab created ProRes proxies that are clipped by take and labeled differently from the dpx file (for example, three takes that are on one dpx scan are split into A001,A002, A003 as prores proxies). The timecodes match the original dpx. Not exactly how I would have done it, but I havnet round tripped a lot of 35 scans. Normally I would make a prores proxy of the full dpx sequence and then sub-clip the proxy so that offlining and onlining is smooth.

Here's where the problem begins. Before I received the footage the director synced each scene and assembled a rough cut using these proxies. Thinking toward the future, we will want to online the edit back to the DPX for finishing, which becomes difficult since the proxies are labeled differently and are clipped from the DPX sequences.

My question is, what's the best strategy here to untangle this and set us up for success in finishing while preserving the work the director has done? Is there a way to round trip what has already been done or does the rough cut need to be rebuilt using full proxies of the dpx sequences, not the trimmed versions of what were already made?

Would love to hear some strategies!

This is great.

Interviews with Editors for films like Kingdom of the Heaven, Hearts of Darkness, 1923 series, Apple TV Studio, Elio, Natural Born Killers . Narnia Movie,Small Soldiers, Alice in Wonderland, Transformers and so much more.

https://www.youtube.com/playlist?list=PLG8EutAHbTng

No affiliation whatsoever, but seems like very familiar interface and feature set that we all know in love from another company is finally gaining some traction. I’ve heard rumors that it was happening, kept an eye on the GitHub repository- but just not sure how well it would come out in the end.

I really started to appreciate what the open source community actually is, or was, before AI vibecoding - it’s a fascinating look into things bigger than just software and more about human society general - not sure this falls into that category, but still very interesting for our world….until maybe some lawyers step in 🤣

Might have to put it through its paces and see how well it compares, obviously won’t have all the same features, etc., but might be a great option for educational use, folks just starting out, etc.

https://getartcraft.com/apps

Hopefully this isn’t flagged for regular AI slop posts!

Question's in the title, I'm sick and tired of the annual repayment for CC. I know PP is the standard in many ways, but for my work which is 99% social media/simpler edits, I'm wondering if I can't get by with a Macbook Pro + Final Cut as (an expensive) once-off payment.

From what I'm seeing, people are saying in general that it's a lot less powerful and less versatile than PP. I do use key frames a ton and I'm wondering if I'll regret the move to a "simpler" NLE. Any thoughts are welcome, I did do a search for this in the sub but the posts I found were older.

Edit: Hi again editor friends, just wanted to say thanks a lot to all the responses here. It's too many to personally respond to everyone, but you've given me more than I bargained for and then some. In the meantime I'm going to download DaVinci Resolve, and probably end up using it on the MBP. Thanks!

Ok, I know this is a ridiculous question and the answer is “just slate“. But hear me out.

I’m making a documentary that involves very sensitive/intimate participants and situations. it will be mostly just animated audio with an amount of 16mm from a crystal sync camera.

I am foreseeing times when slating would be inappropriate or just impossible. I know this is going to be a manual lip sync situation, but I was wondering if there might be any tools to make this easier?

For example, is there a way I could record in and out times via mixer timecode remotely (say, on a phone or iPad) so I at least have a general frame of reference?

Promise this is not me trying to do low-effort, I need a bit of research and google is doing no good :/

Looking to see what actually is a top of the line product. What would be the best of the best when it comes to monitors, keyboard, mouse, controls, speakers, etc? What would make someone’s set-up go from middle of the line to high-end?

Are there essential staples of the industry? Or small off-shoot companies that only editors really know about.

I’d appreciate any answers to any of these questions. Seriously!

Thank you!

(for budget, none)

Hi everyone, I’m a video editor and need to replace my current laptop because it keeps crashing in DaVinci Resolve (this is honestly getting unbearable).

My budget is €1,500–€2,000, and I’m buying in Europe (I’m based in Germany). I would like a PC that is
• Highly portable, since I move around a lot
• Reliable for DaVinci Resolve, especially Fusion/motion graphics
• Ideally upgradeable later (RAM and/or SSD)

I’ve been looking at 16-inch performance laptops with an RTX 5060 or RTX 5070, 32 GB RAM, and a 1 TB SSD, but I’d appreciate recommendations for specific models.

What would you buy in my situation, and are there any models or configurations I should avoid?

We’re looking for people with some experience using Avid Media Composer, but you don’t need to come from an animation background — training will be provided. The assistant editor role in animation is a little different from what you may be used to in live action.

Our Assistant Editors are involved throughout the production process. Responsibilities include assembling storyboards and timing passes, adding and maintaining dialogue, sound effects and other audio, and keeping editorial reels current as new material becomes available from the various stages of animation production.

Some editorial and Avid experience is necessary, but personality and attitude are a huge part of what we’re looking for. You’ll be working closely with editors, production staff and other members of the team, so being collaborative, organized, dependable and comfortable communicating with others is just as important as technical experience.

This could be a great opportunity for someone with a foundation in editorial who is interested in learning animation production and growing their skills.

If you’re interested, we’d love to hear from you. Please send along your résumé and a little about yourself and your editorial experience. Candidates in the GTA or Ottawa are ideal as some projects require hybrid work.

I'm also looking for a post-production assistant editor. This position is not creative and will help manage the ingest and delivery process of materials. AVID experience also a plus for this role.

Please send me a DM.

Thanks!

EDIT: This post seems to be locked for comments.

Update: Thanks for all the amazing responses! I think I've got enough candidates for now so thanks for everyone who reached out.

I need a little advice navigating a weird situation I’m in.

I was a small-time animator and video editor for years, but the instability got to me. I got a “normie” job as an engineering writer. It’s been fine, it’s not as cool as my other video work, but I like the stability and benefits. But, I actually haven’t done too much writing here.

By weird coincidence, they needed someone to edit training videos right around when I started. And I mean, they really needed someone. Before me, they were using Microsoft Clipchamp to combine 4+ hours of footage and send it off untouched. When I started, I wrote up proposals to convince them to get Premiere, a better camera, a better tripod, and better recording methods. Now, I screen all the footage for inaccuracies, offensive material, and unsafe suggestions, and I repair any audio issues or shaky footage and troubleshoot technical problems regularly.

Now, I’m in a weird spot. I’ve been doing video work here almost exclusively for about a year. I was planning on trying to leverage this to a title and/or pay change during performance reviews at the end of the year. Before I could do that, though, my manager asked me to “write up some instructions” on how to edit videos “so everyone on the team can learn.”

On the one hand, I wouldn’t be sad to pass off these videos. Aside from content, I’m editing on the cheapest ThinkPad money can buy and everything takes 100 years to process.

On the other hand, it feels really weird to me that they’re asking me to make a lasting resource on a really deep topic, and to teach people this skill that I learned outside of this job and wasn’t technically hired for. Mostly, I am scared I’ll make a bunch of resources and end up blamed for bad videos teammates make or I’ll just be let go after I make the resource.

So, I’m stuck. Do I try to leverage this training request into a pay raise? Do I just suck it up and deal with it? Any advice is welcome.

I've been working for a YouTuber with 750k+ subscribers as a video editor for close to 5 months. It's basically my first real entry into this field. Before this, I was editing only as a hobby and had one year of side-hustle experience with a health-related company, making around $100 a month doing simple stuff.

The YouTuber gave me a monthly pay that I was positively surprised with, and I was able to live off editing. I started my own one-person company for this, and everything was going great. After these 5 months, today I got a message from him saying that he's no longer able to keep me on board financially, as he's having trouble with taxes and has to downsize his company. I'll still have one final invoice paid, so I have around 2 months to look around for a new person to edit for before I'm in a dangerous financial situation myself, but I don't know where to look or how.

The worst part is that the videos I made aren't posted yet, since he wanted me to create a backlog of videos before jumpstarting his channel again after half a year of not posting, as he focused too much on streaming in the meantime.

He was happy with my work the whole time, positively reviewed everything I've sent to him. He offered to recommend me to people he knows if they'll be looking for editors, and generally we ended on great terms.

I still feel like I have too little experience to show off and sell myself well, know no one in the space, and have no idea what to do now to stay in editing instead of going back to corporate/fast-food jobs.

Any advice is appreciated. Thanks!