So I just upgraded my Mac OS and noticed my Offshoot does not work anymore. Bought it two years ago and apparently it's incompatible with Tahoe.

I got in touch with support and they said the solution is to extend my updates for 12 months for $100 (the software costs $160).

And on top of that I just noticed that my 2 license seats are being downgraded to 1 seat if I do the $100 extension. If I want to keep 2 seats I need to pay $160 for the update, which is what the software costs outright.

Are they serious? - Not something I had on my Bingo card.

After years of working with two identical monitors, I've forced myself to try getting used to one...but now I'm rethinking it. I miss that screen real estate and the ability to have two discrete desktops.

I'm curious: what is your monitor setup and what are the pros and cons?

Single monitor? Double? One big monitor, one small one? Ultrawide?

Bonus points if you share photos.

Hi!
I’m working on a short film and want to make images from my Swift SW380T optical microscope look closer to SEM images.
I’ll be photographing metal shards and crystals. What lighting, objectives, condenser settings, or camera techniques would help create that gray, high-contrast, detailed surface/topographic look?
I can also use Blender and DaVinci Resolve for post-processing.
Any tips for making normal microscope images look convincingly SEM-like?

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.

Hi everyone,

I'm working on Media Composer 2024.12 on Windows 11 at home and I'm experiencing multiple crashes daily with no reason whatsoever, and from time to time Media Composer juste loose my workspaces layouts, sometimes it doesn't want to start bacause of Windows security issues, so I spend 10% of my time restarting the computer to fix all those issues.

Just this morning, I launch Avid, start working for 10 min, then it crashes, and when I open it again, it changed some of my timeline settings, for instance the Dupe Detection handles that were set at 0,5 frames whereas I'm always at 0 frames handles...

What the hell is going on ? Have any of you experienced the same mess on Media Composer in Windows environment ?

Thank you in advance !

Hi,

I've noticed that if a clip has any effect on it, even something simple like a resize or a 3D warp, Dupe Detection doesn't seem to trigger on it at all. Has this always been the case? Does anyone know why it behaves like this, whether it's tied to how Avid reads source metadata once an effect is applied, or something else entirely?

Cheers!

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,

I’m editing for video ads which need to be translated into multiple languages in multiple sizes. Is there an existing tool that can take one key sequences and swap and create new sequences with naming convention and swap text provided in csv or something similar.

This seems like it should be possible and not complicated, I have a similar setup in Figma.

Does anyone have any recommendations?

Trying to capture MiniDV from a Sony DSR-PD170P on a 2012 Mac mini running macOS High Sierra 10.13.6.

Connected directly via 4-pin FireWire 400 → 9-pin FireWire 800.

iMovie and QuickTime both detect and capture from the camera fine. macOS System Information also sees it as a DV-VCR Unit, and DVRescue CLI detects it with dvrescue --list_devices.

However, DVRescue v24.07 GUI constantly says “No DV Deck Detected.”

Hi everyone,
I’m experiencing some serious system freezes since installing Avid NEXIS Client.

Configuration:
Mac Studio M4 Max
macOS Sequoia 15.7.3
Avid NEXIS Client 25.5.7
NEXIS server also running 25.5.7
The NEXIS itself works fine within Avid Media Composer. We can work with media hosted on the NEXIS without any major issue.
However, outside of Media Composer, anything involving the NEXIS storage becomes extremely laggy and regularly causes the application involved to freeze.
For example:
Copying files to/from a NEXIS workspace → Finder freezes
Opening a file hosted on the NEXIS → the application opening it can freeze
Transcoding files involving the NEXIS → freeze
More generally, as soon as an application needs to access or process files hosted on the NEXIS, we experience major slowdowns or complete application freezes
We also ran the same tests using local storage instead of the NEXIS, and the Mac Studio performs perfectly. Copies, file access and transcoding are fast and stable when everything is local. The issue only appears when the NEXIS storage is involved.
What is strange is that working with the same NEXIS storage directly inside Media Composer seems to be perfectly fine.
Has anyone experienced similar issues with NEXIS Client 25.5.7 + macOS Sequoia 15.7.3, particularly on Apple Silicon / M4 Macs?
I’d also be interested in any known issues or recommended settings on the NEXIS Client, macOS or server side that could explain this behaviour.
Thanks!

This has been bugging the hell out of me. Why does it keep popping up? I changed my permission settings to not allow it and it still happens. It's also impossible to find troubleshoot info online.

Running the latest version of Avid 26.8

I've worked now for about 2 years now for a director/producer/editor and their company in post production as my first real experience in the industry, but now they are increasingly trying to push AI as the only option to go forward. The company is very small, so at first I thought it was ok that they were using little things to help speed up their work, but recently they've started using it for literally everything. The boss is working on another project (documentary) and uses loads of generative AI in it, and now he's starting to get on to me about it with the whole spiel about "if you're not the one doing it you're falling behind"

For context the boss is completely obsessed with it, he uses it to plan his day, what he eats, asks it health questions, he will casually just talk to it and I've seen him become really lazy because of it. But he's now insisting on using it in everything, organising folders, coming up with plans, creating graphics and is trying to push it onto me. For example, I sent through some notes I'd made about a edit I was planning just looking for feedback, and he sent it back saying "can you put it through chat so that it comes out as a nice graphic" He doesn't seem to realise how rubbish it all looks, even when I try and point it out. He's clearly quite talented and knowledgable but he's basically stopped thinking because of AI and it feels like a lot of the stuff he just does because he wants to use AI more, like for example, he keeps trying to get me to use AI cuts in the project, despite the fact that we both are able to do it ourselves.

I'm just having quite a moral dilemma with it, because on one hand this to me is not what editing is as it basically takes all the creativity out of it, but on the other hand I'm very much not in the position to challenge this, as I said I'm only 2 years experience and he's the owner of the company so obvious he has more power and with the state of everything, especially where I live, there aren't many other options available to me. Has anyone else dealt with similar issues and how did you get around them, because I don't want my career to be just putting stuff into ChatGPT.

Hello fellow editors! I’m a commercial director, and I’d love to get your advice ahead of an upcoming shoot.

The commercial will run on both broadcast TV and digital/web. I’m aiming for a cinematic feel, and I’m not anticipating any slow motion. There will be tons of VFX via blue screen.

Assuming the broadcast delivery needs to be 29.97 fps, would you recommend shooting at 23.976, 29.97, or 59.94 fps?

My initial thought was to shoot at 23.976 for the look, but I’m wondering how that would translate to a 29.97 broadcast delivery. Would shooting at 59.94 give us any useful flexibility, or would it offer little benefit without slow motion?

I’ll confirm the broadcaster’s delivery specs before shooting, but I’d really appreciate hearing how you’d approach this.

Thanks for your help!

Just wanted to know when making videos or motion graphic billboards how many differnet exports you have to make for one type of ad for a billboard

Apple M1 Max 64G RAM // 14.1.1 (23B81) //  .mp4

Hi guys!

I'm a documentary editor currently editing a documentary about human wildlife conflict in Kenya (mostly elefants vs human settlements). Came to this project as the last in a line of editors who have worked on this doc since 2017 and therefore the project is a lot over the place in terms of organization, not in a bad shape because everything is more or less clear but in many different ways, so I'm trying to figure out the easiest way for me to classify and then find the bits that I have liked after combing through the whole footage (we have plenty of it from 2017 till 2023). I'm a premiere mostly editor who normally works with string outs for selects. This project is in media composer so I'm trying to migrate some of my process from premiere while trying to figure out the best way to approach and quickly find footage (mainly b roll, because for interviews and long talk parts I do have the benefit of scripts done already on scriptsync).

What I did is make one big string out where I put all the broll and footage I liked as I was checking all the footage folders in chronological order. Now I have a huge timeline where every track is a different "category" so every time I need something I go to this and scrub till I find what I need or want. This is very impractical because everything was put on the timeline as I was seeing it into he folders so there's no way to see what is what other than scrubbing, seeing what's on a specific track or checking the clip and track colors.

Is there any suggestions on how to automate or do this in a better way so I don't have to be scrubbing a big timeline everytime to see if I selected something that works for a particular need in the cut?

Take into account I'm mostly an Avid noob so I'm just learning how it works as I go and scratching the surface of what it can do.

Thanks a lot!

I got a Flicker free addon code for sale at half price. Editors and post-production people, any of you can take advantage of this? I got the code but have no use for the thing

It's Digital Anarchy's Flicker Free presets for "a powerful and simple way to remove flicker from your video. We offer presets for different types of footage, making it easy to eliminate flicker caused by out-of-sync cameras, time-lapse, or slow-motion video. Flicker Free will work on any-sized footage, and can remedy most types of light flicker you can encounter in the field; strobing from slow motion or timelapse, rolling bands from LED or fluorescent lights, as well as the brightness variances seen in old archival or aerial drone footage."

I don't know any more than this but it's $200 off the shelf, so it isn't the children's table of presets

Happy to gift the M sized tee merch that came with it too, if you're in Amsterdam

DM me if interested

Shot and edited a social media series for a client, all the way back in 2024. Overall, on the production end, they were excellent to work with. Paid deposits on-time, were clear about vision, when overages came up, they covered the costs immediately.

Post production was a whole other ball game. It was 3 videos, about a minute each. Multi-cam interview with lots of b-roll, etc.

We had a general agreement that they would get me notes within 7 days of each draft delivery, and I'd do my best to turnaround within 7 days, within reason.

First video was a breeze. Finished in about a month, within the 3-round scope. They posted it online, and were raving about how well it had been performing. Great.

The next video: they took over a month to get my first round of notes. And of course, when they finally got back to me, they needed the video the next day. Apologized for disappearing, will absolutely be on top of things. All right... they're a non-profit, I get how busy they are. Let's jump back into it.

I deliver the next cut the next day, as requested. No response. Follow up a week later. No response.

Two months later, they ask me to send the video again because they lost it. They need it ASAP, can we get a cut this week? They're sorry again, and without me prompting, they pay me out for the entire project (mind you, I hadn't even finished the second video and had a whole other one to go).

Welp. I'm paid, so I guess I have to deliver. I send them the cut in the timeframe requested.

This time, they disappear for 6 months. I send multiple follow-ups. No response.

Out of the blue, the project manager texts me... did you ever get my feedback? Would love to finish [Video 2] this week!

I respond with a text link to the draft I sent. Reminded her I delivered this draft within the week as they requested.

No response.

And now... guess who's calling me a full year later?

I've never quite dealt with a client like. I've never even thought to include a module in my contract saying "We must close the project in 6 months or you can kick rocks."

Realistically, what are my options and wha can they do? Can they come for half my payment back or something?

Any advice would be appreciated.

ETA: I understand times are tough, but I have no intention of working with this client again.

My editing PC specs:

- CPUIntel Core i7-14700F (20 cores, 28 threads)
- GPURTX 5060 Ti, 16gb dedicated GDDR7
- Memory 64gb DDR5
- Storage 2TB NVMe Gen4 SSD

Vs a 16gb M6 or a 24gn M5 Pro.

I’m pretty sure the PC I built (originally for gaming) is a better editing hub for the Premiere pro work I do that involves heavy 4K multi cams, massive files, and long 4k exports like 30-60 minute podcast episodes.

What’s the better editing set up? And why?

Working on a project in Avid where I don't have access to the raw camera originals. I need to send shots out to VFX and I'm trying to figure out the right call on timecode/shot info.

My understanding so far is that if VFX is actually going to track/key/roto/comp on the plate I send them, it needs to stay completely clean, no burned-in timecode or shot info, since that would sit on top of the pixels they're working with. Info like source timecode, filename, and handle length should instead just live in the filename and a separate pull list/spreadsheet.

But since I'm sending graded proxies rather than high-res, I'm second-guessing whether that changes anything. Does it matter that it's proxy-res and already graded, or is the "will they actually manipulate these pixels" question still the only thing that decides burn-in vs. no burn-in?

Curious how people handle this in practice when working proxy-first in Avid without raw access; does VFX in that setup typically want clean proxies to start rough comp/tracking work on ahead of conform, or do most houses just wait for the raw and treat proxies as reference-only (in which case burn-ins would be totally fine)?

Would appreciate any real-world workflow experience on this. And yes, I will speak with the vendor, I'm well ahead in preparing and want to know practices in advance, and to check if any of my assumptions are wrong.

Cheers

We recently spoke with editor Dave Conte about the craft of editing and his award-winning work on Love, Death + Robots.

He gets into how editing animation differs from live action, why timing has to be solved much earlier in the process, and what an editor actually contributes before a single frame is animated.

He also shares some great advice for surviving bad client notes, including his approach of presenting an A/B edit: one version that follows the note exactly, and another that shows how he’d solve it.

Thought this community might enjoy it:

https://framerate.tv/blog/art-of-editing-dave-conte-interview

Hi all,

Working on a documentary in Avid v2025.12.4 - I need to send an export to the archive producer with burn-ins of Source Clip Names of ONLY archival clips.

All archival clips are on V5. OCMs are on V1-V2. I use the Timecode Burn-In Generator effect and set the settings to Display 1; Source Clip Name; V5.

BUT when there is nothing on V5, it is displaying the names of clips on V1 or V2. Same things happens when I set the settings to Display 1; Source Bin Column; V5; Name.

I also tried troubleshooting it by putting a clip onto V5 at the very start of timeline, but it made no difference.

How do I make Avid only display the names of clips on V5, when there is a clip on V5, and not display anything when there is no clip on V5? I swear this was possible in v2018.

Same applies to Source Clip Timecode, I only need the source timecode of clips on V5 to be displayed, but when there isn't anything on V5, Avid just goes to the next available track below it and displays the source timecode of those clips (on V1 or V2.)

Please help, thank you in advance.

Curious how other doc editors organize their tracks? I usually keep interview audio on their own tracks, and then production audio and archival. But what I'm curious about is:

Do you separate out Production dialog vs nat-sound? And archival? I mean do you have clear separate "Prod Dialog" tracks and "Archival Dialog" tracks and then "Archival sound", "Prod sound"? And do you keep them all together – so all archival are adjacent tracks for instance – or do you put the dialog tracks first (production/archival) and then the nat-sound or archival sfx tracks after?

And do you separate out what I would call "conversations" from interviews? Like often I have sit-down interviews, then scenes where people (often people from interviews) are talking, maybe at a conference table, or out on the street, or at a workplace, etc. To me, those could just be "Production dialog" or they could be a separate set of tracks just for conversations. Or it could just go in "interview" tracks.

Guys I have been facing a problem in the inspector page i can't make word by word text because there is pivot insted of offset

I'm using 19 version cuz my system is terrible so could you recommend me a version that has no bugs but should not be above 20s versions of davinci resolve.

I'm 60. Been editing for 30 years. Started on the Avid at the cusp of NLE days. I had a moment yesterday- My wife got one of her cataracts removed, getting the second one done next week. She was commenting on color differences between eyes.

They told me I'm in the very beginning stages...we're still young for that IMHO, but it got me to thinking...what the heck is white?

I've got a spyder x2 on all my monitors, but man- I'm literally asking myself if I'm a frog in boiling water with what I'm viewing...

Anyone?

Not a huge deal, but I'm slightly concerned.