Hey, one less person out of the job pool I guess! After my layoff at the start of the month and thinking about my future and the film industry as a whole, it’s becoming clear that this won’t be a job I retire from. This is all I spent the last 20 years doing and can’t think of how to sell my experience in another field. I’ve worked solo on projects, and in big company teams managing creative director and client notes and expectations.

Are there editors here that have made a career change? What did you transfer too? My big issue is going back to school is out, I have too many loans since i went to film school( I know I know). I don’t mind starting over, I just have no idea how to make my experience applicable to other jobs. Any advice is appreciated.

hi there ! i’m desperately looking for a high quality stock music library for my edits :’) –ads, dance videos, commercials, manifestos etc…–

in my office, we’re using Artlist, but i really don’t like it, it’s full of slop and really low quality musics, i spend hours looking for songs and at the end, it’s not even good

i’m open for a smaller music library, less choice but better quality !

do you have any recommendations ? :)

What’s the best software for syncing a bunch of audio and video files? I use Final Cut Pro and there’s not really a viable option I’ve found for syncing all our video and audio for our videos! It’s not a podcast and it’s not multicam footage. We recorded video and audio separately and Final Cut doesn’t have the best automatic sync. Rather than individually syncing each clip to the corresponding audio file I’m looking for a more efficient or effective way to do this.

Following up on my post from last month about getting kicked off the roster...

The Hollywood Reporter published a story this morning on the roster removals that have hit a few thousand IATSE members. I'm one of the people quoted in it.

https://www.hollywoodreporter.com/business/business-news/iatse-hollywood-crew-members-roster-crackdown-1236651312/

Some things in it I didn't know before, and that are worth knowing if you got a letter:

• It's a few thousand IATSE members flagged, and Teamsters 399, LiUNA 724 and Plumbers 78 haven't been notified yet but their rosters are expected to be reviewed too.
• This is the first removal round since 2022. An industry source told THR that removals are normally annual but were paused in recent years because of post-strike conditions.
• IATSE hours in 2025 were down about 36 percent from 2022.
• IATSE international VP Mike Miller called it "purging of the workforce."
• The Art Directors Guild (Local 800) filed a blanket protest for its affected members.
• The eligibility threshold gets renegotiated at the bargaining table in 2027.

If you were flagged, you can protest, and the dispute process runs over the next few months. Talk to your local — some are filing on members' behalf. And if your days were undercounted or you have qualifying work that never got submitted, Contract Services will tell you exactly what documentation they need if you ask them directly. That part took me a visit in person to find out.

Thanks to Katie Kilkenny for taking this seriously. A lot of us have been dealing with it quietly.

I've been working as an editor in Australian TV for about 10 years. I've only ever worked for the public broadcasters until just recently when I worked on a much bigger commercial program and it was the first time I've had an assistant editor.

I'm so used to doing all the work that I didn't know what to ask of the assistant. I was working remotely so they weren't in the room with me and I didn't know how capable they were so I just did all the work - which was fine. There were multiple editors each working on an episode and there was 1 or 2 assistant editors working each day, so they were kept busy working with the other editors.

What would you normally ask of your assistant editor, and what are their expected duties? I'm curious for any all types of workflows - documentary, non-scripted, scripted, reality, feature films.

Difficult to know how to phrase this exactly, but I always feel like I'm winging it when it comes to graphics and overlays on my videos. I'm technically proficient in that I can layer up, arrange and keyframe various elements. I just don't know the rules on what makes something look professional.

I have a basic understanding of complementary colours and layouts, but I'd really like to shore up my confidence with fonts, textures... just good graphic design practices for video.

Have you guys got any courses or videos you can recommend?

I've been seeing people complain about Vimeo for a while, and have had my own qualms. I haven't found any suitable alternatives besides frame (which doesn't support embed), but recently came across https://livid.com/

It was started by former Vimeo employees (and named such haha), and curious if anyone has tried it/what your experience has been?

I use analog output for audio monitoring: Blackmagic card - XLR out to mixer - wired over the ear headphones connected to mixer (speakers also connect to same mixer via XLR). My TV is fed HDMI from the same BM card. My GUI monitors are fed by my GPU.

I am looking for noise cancelling headphone - while I will likely stay 1/4" wired, I was considering bluetooth over the ears.

Does anyone using using bluetooth experience latency issues? Does your setup rely on on a separate breakout card such ad BM, and if so do they remain in sync?

This question is generally framed with Premiere in mind but I use the same set-up for AVID and Resolve.

I've chased my tail (with sync tests) combining computer vs. audio card. vs bluetooth audio latency issues in the past and just want to check current experiences before making a purchase.

Thank-you!

I currently use an ASUS ProArt PA32UCDM. While it is a high-quality HDR-capable monitor, I struggle to get consistent results when grading HDR video. Sometimes the footage translates to the iPhone exactly as I see it on screen, but other times it looks noticeably different, and I can't pinpoint the issue.

I'm aware of the PA32UCDM's 3% peak window brightness limitation. Shrinking the viewer in Resolve to prevent the ABL from dimming the panel is inefficient and inconvenient for my workflow.

I also have a 14-inch MacBook Pro with a Liquid Retina XDR display, but the screen is too small—the Resolve viewer ends up even smaller than an iPhone display.

Because of this, I'm considering switching to an Apple XDR display, hoping it will deliver more predictable color and luminance translation to iPhones. I understand Apple's Mini-LED technology doesn't provide the true blacks of QD-OLED, but that isn't a dealbreaker for me.

I won't be able to return the apple disply and will be probably need to buy apple studio m4 computer despite having hi-end PC. I can't rent apple monitor, but may be some one already tested hdr oled and apple xdr side by side in video editing and give me a tip? Because in case of using Apple monitor - miniled will still look diffrerent than OLED on iphones, and qd oled monitor actually is much closer to iphone screen, not sure if the trade of will benefit me.

Hey folks.

I work at an edit house where there's only enough room for one desk for the editor and couches/chairs for clients. I would LOVE to be able to come up with a solution that would allow me to AE from in the room so I don't have to be outside on a zoom getting everything on a bit of a lag.

The chairs have a very small swivel tray on them that I could put my laptop, but I'd LOVE to be able to have multiple screens and a mouse. I've seen the extra screens that attach to laptops but they always seemed a little flimsy to me.

Does anyone have any comfortable set ups for a situation like this?

Edit: I'd say budget is around $350 for screens, but if it's something life changing it could push it up. In terms of a portable desk or other things to make it easier, I could probably get the company to invest in it which I'd say that goes closer to $500 but obviously cheaper is an easier sell.

I'm working on a macbook pro 2021 M1 and love my logitech mx4 mouse. Applications include Avid, Adobe Suite, Google Suite, typical things you'd expect.

https://dissolve.com/

Bit of a bummer. I found they had a pretty useful library for work that I do. And they were often the cheapest option. Hope they don't dip into generative A.I.

Hi everyone! I was recently let go from my previous job of 4 years due to downsizing. I served as an ae, media manager, and sometimes editor and assistant producer. My focus right now is finding more ae and editing jobs, but I’m having a lot of trouble. How are y’all able to book jobs and etc?

Thanks in advance! ❤️🎞️✨

Oh! And btw, I’m joining the west coast mpeg. Hopefully this will help me find better job opportunities.

Before this gets removed again, I’m trying to ask advice from other professional editors. I’ve been working as a freelance editor for 3 years, pay taxes as a freelance editor, and do work mostly for clients on YouTube. Mostly long form, some short form.

I work with FCP and motionVFX. I started out with Premiere, but trying to use motion graphics was a slog and I found FCP to be much more user friendly and easier to get from point A to B, it works for me and I get great results. Yet now when I look for work I’m already locked out of at least 50% of jobs because they exclusively want Premiere and AE editors. I get it, industry standards and so on, but I’m doing just fine with FCP and should be able to use what works for me. I don’t have the time to learn Premiere because I’m already supplementing my lack of editing income by taking up part time cleaning jobs, I can’t even land an internship that would help me learn and grow in this industry, and I can’t land many jobs because I’m using a software people apparently find inferior.

Tldr: Why do so many jobs require advanced knowledge of Adobe software when I can do my work with FCP just as well? And if I have to learn Premiere all over again, what advice can you give for working with motion graphics in Premiere?

I'm working for a social media agency and I'm dealing with a manageable amount of shorts everyday. Fairly simple - talking heads, auto captions, b-rolls, all provided. Nothing complicated.

Before this, I am a reality show editor who was editing for about 12-14 hours a day, now it's hard for me to get through 8 hours even if the workload is manageable.

What I meant with my question is this: how do you push through and keep yourself focused? How do you deal when your body doesn't want to, but you have to? I know a lot of you will be able to relate to this. Even back then when I was doing long-form, focus was my biggest enemy, and right now it has come to standing on my desk, walking for about a minute, go back to my desk and click something, repeat.

I'm looking into what I can automate so I don't have to think so much on days where I strongly feel out of it, but yeah I know our work isn't "automatetable"

Here's the thing. Tried pomodoro, phone away from desk, anything I can think of. Not working.

Hold the Pitchforks for a minute.

AI, LLMs, blah, blah, blah. If you're just coming into this thread to shit, please don't. I don't have patience for it on a Monday.

I'm trying to have this pretty serious discussion about this.

No I'm not building this nor am I selling anything. FFS. Go check my user history.

I'm finding that nearly every single Slack huddle, Evercast, Zoom Meet, Google Meet, and Microsoft Teams session is being recorded or someone is wanting to record it.

A lot of the time, that person is me. I find it amazing to take that transcript, pull it back, use and LLM and at the very least get a really clear, concise review of the discussion.

I could share it with the client (not be default) and get them to sign off on sometimes very clear direction. It also becomes a great checklist.

Yes, I get their consent and explain why I'm doing it in the first discussion.

Now, I have some really standard concerns:

• Privacy
• Another subscription
• Which tool to use (free tools the next item is important)
• Whether they are mining it for information
• Whether this information will ever be used against me, although if I'm the originator, I own it.
• How do I deal with the real world (in person)

I'm experimenting this month with a hardware recorder - Plaud. No link here is intentional. No referrer link. And if you come in here to name drop your product, I'm gonna kick you to the curb, cause I can.

I'd love to open a discussion about this, and just for a little direction, are you offended by this? Are you frustrated over privacy? Are you thrilled with the idea that you could review a client review session rather than taking just notes by hand?

Or show the client exactly what they said.

I find that even if I'm walking through Frame and talking with somebody, the discussion and what we are discussing becomes something really specific and actionable. I don't have to always rely on my pure memory to discuss what they said.

Maybe I'm the outlier, the asshole, or ahead of the curve. At least I'm in control right now.

And yes, I'm concerned about the erosion of privacy for convenience, but do we really care?

Tools I'm using: Fathom, Zoom (their built in recorder), Reduct, MacWhiser, Plaud…some people I come across are using Read, Otter…

I work for a small non-profit and am looking to license music to use as a theme for our podcast. I'm considering an Artlist subscription. We need to be able to use the music everywhere we post episodes: on YouTube, on our podcast's RSS feed, on social media channels. Artlist seems to frame its licensing offerings as "personal" or "client." One of them says the subscriber is allowed to use the music on their "personal" channels, the others all say the subscriber can use the music on "client" channels. Neither of these say that the music is cleared for an org to use on its "in-house" channels. If I go with Artlist, should I go with the personal license or one of the client licenses?

Hey guys, I'm trying to find a good docking station for my MacBook Pro M1 Pro, and I'm hoping to do everything through a single Thunderbolt cable going into the Mac.

Here's everything I need to have connected:

2x 4K 60Hz monitors

Shure MV7+ USB-C microphone

Elgato Stream Deck (15-Key) 

1 Gbps Ethernet

2x Samsung T7 external SSDs (around 1,000 MB/s read/write each)

Ideally, I'd like to leave everything plugged into the dock permanently and just connect/disconnect my MacBook with one cable. Can you guys recommend me some good docking stations that can cater all these needs?

Hey!

I'm looking for a highly creative video editor for a long-term collaboration.

I'm building a personal brand and a collectible figure brand focused on the US market.

I'm looking for someone who can create viral, cinematic short-form content using tools like After Effects, Premiere Pro, DaVinci Resolve or Blender.

I’m not looking for basic template-style edits. I want scroll-stopping videos with VFX, motion graphics, creative transitions and storytelling.

Think of videos where real-life scenes transform into a character or product through seamless visual effects.

I'm looking for someone who wants to help build a brand from the ground up, not just edit videos.

Please send:
Portfolio
Best 2-3 edits
Your rates
Your timezone
Please include links to your portfolio or social media.
Looking for a long-term partnership.

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:

I’ve been editing for six years, exclusively for YouTubers, and they’re honestly some of the most disorganized and demotivating clients you can work with. They don’t even know what they want.

I’ve had some great clients, but others micromanage the hell out of everything. It completely kills my motivation to edit, especially when they put all the pressure on me like I’m some kind of magician who’s supposed to boost their views no matter what.

Today a client asked me to add “more action” to their TikToks. They’ve been complaining that they’re not getting as many views as they expected, but the clips they send me are ass. There’s only so much I can do.

Honestly, I’m starting to feel like all this stress just isn’t worth it. I’ll probably quit if my next negotiations fail.

Hi folks! I am wracking my brain over how to organize a couple of shoots on a doc I am assisting on. Its in Avid, but I think it may not matter in this case. More of a organizational mindset thing.

I appreciate this is complex and might throw people off, but any help would feel very much appreciated!

This is from a run and gun multi-cam shoot with multiple speakers/subjects. For those familiar with Avid, I am syncing by syncmapping (I've realised not everyone uses this term, so this means aligning all clips and syncing them in a timeline) then subclipping sync instances and turning those into multigroups. Syncmaps are done, but haven't gotten to subclipping yet because am unsure how to approach from here.

Essentially I have 3 cameras (we'll label them 1V, 2V, 3V) and 2 audio recorders (we'll label them 1A and 2A):

- Audio recorder 1A has 4 tracks - 2 of them sync to 1V, and the other two sync to 2V.
- 3V syncs primarily to 2A, but there are instances where it syncs to all other cameras and mics.

- A common issue with 1V, 2V and 1A is when we have a clip that syncs on a talking subject, but then, still in the same clip, the cameras veer off to film separate things that need their own sync. So then we get things like audio from 2V on 1V, because its the same audio clip (I am aware I can edit the group to exclude them).
- At some points, all cameras sync on the same subject.
- Another issue being that sometimes a 2V clip does not run the entire length of a 1V clip, and instead I have two or three 2V clips synced to a long 1V clip.

I guess one solution might be to separate different sync instances of the same clip into their own group (1V,2V in one group, 1V,2V,3V in another), but I already foresee the mess my bins and syncmap timeline might become if I go that route, and am afraid it might double or triple my work due to mistakes or whatnot.

Though my biggest concern here is having this organized in a way that the editor can easily understand what is what, and even I'm struggling to understand it myself.

Curious if anyone has handled shoots like they and what they have done. Any input appreciated!

Hi folks,

I'm working on a music video in Avid, but this applies to any NLE. When building sync for a bunch of takes, do you sync each take individually to the master audio track, or build a syncmap and create a group from it and call it a day?

My hesitation with the syncmap/group route is that matchback will always come out rough, audio-wise. It feels like it saves time upfront, but it digs a hole you have to climb out of later as the project grows. Curious how others handle this, manual sync per take and then group, or trust the group and leave it as is?

Cheers

Unfortunately I did not notice this issue until looking at the footage and unfortunately it was for being an associate wedding videographer so I need to pass on the footage. There is a red pixel in almost every clip after the first few. It’s not in spot where it’s an option to just scale the footage. What’s the best way to edit out that pixel? I want to offer to fix the footage myself before I send it to them but also want to give them options if they want everything raw and to fix it themselves. Luckily I have learned about pixel remapping in camera and have fixed the issue for future projects but I feel awful.

I primarily edit in Premiere but can work in another program if something else works better!

Edit to add details:
Editing on a MacBook Pro, Apple M4, 16GB memory
Edit in premiere 2026, v26.3.0 but open to buying davinci to fix
Footage was shot on a Sony a7siii, xavc s 4k, 60fps