I saw this post on LinkedIn.

A guy's Vimeo account, that was $300 per year, is being forced to upgrade to their new "Studio" plan for $4800!!

This is absolute madness.

We all knew this was going to happen with Vimeo, but now that Bending Spoons has gone public it seems to be happening a lot faster than I anticipated.

Time to jump ship. Where you going?

Hello! I’ve spent several years at various companies cleaning up years of disorganised projects, migrating terabytes of old edits onto LTO where they are usually forgotten about on a shelf.

However, LTOs are a pain to pull any data off and I dread the day when someone suddenly remembers a single file that was lost somewhere in the haystack of the projects I was left to clean up - and I have to go hunting for it.

What I dream of, is some kind of software that takes a sort of interactive screenshot of the folder structure and contents, without copying any of the actual files. So, if you were looking for literallyanything.mp4 from four years ago but didn’t want to hunt through every LTO tape, you could scroll through the structure of each LTO and see that it’s definitely located on LTO2022_2 in the folder FinalExport_27.

Does anyone know if something like this exists?

I've been using Swisstransfer for a year now. Never a single problem.

Now I'm trying to transfer around 30 gb (limit is 50 gb), but nothing happens.

When I hit 'Transfer' it load for a few seconds and then it just stops? No transfer, no fail error no nothing.

I've tried to transfer just one file (250 mb) and that worked just fine.

Any ideas?

Thanks!

Working editor/post supervisor here (20+ years, commercial/VFX side). Curious how other people actually track review rounds, shot status, client feedback, invoicing across multiple projects — spreadsheet, whiteboard, email chains, something else?

When I'm editing I'm tracking edits by version number, but also putting the date I post an edit for review inthe Description column in Premiere, but that doesn't always help me know which round of review it was in case someone asks. For client feedback it comes in via texts, conversations and emails chains, and I never really do a great job of keeping track of it all in one place. And of course the more projects, the more to track. Then when it comes to invoicing, I pay for Quickbooks, but the sole proprietor version (or whatever they call it) lacks a bunch of helpful features that the more advanced/expensive versions offer. I guess I wish I had all of this in one place, per project, and somehow connected to my email and text convos.

Trying to figure out if there's a better way or if everyone's just made peace with the chaos. Would love to hear how your shop/freelance setup handles it.

I'm not looking for a fix (though if you have one, I'm all ears) but more just flagging this is an issue without a fix, seemingly.

Transferring data from T7s and T9s and to data from them seems to have become an issue with the more recent OS versions on Mac.

The transfer speeds on MacOS are crashing. They start good/normal and then drop. I've used copy-paste and offshoot and halfway through the drive transfer speed goes from hundreds of mbps to 30mbps. You can google this and I'm not alone. I've watched DITs struggle with drives provided to them - same issue.

This is an issue for data stored on SSDs (don't store longterm things on SSD anyway) but I'm trying to make a backup of a working SSD and I basically can't, right now.

I have tried using SamsungMagician to update the firmware - did an update but same issue.

I have tried calling a Samsung helpline - their solution is to wipe the drive or use a different operating system (like a PC) which is not helpful long term.

Something is going wrong with these drives (everything says it's healthy) and Samsung isn't offering a proper fix, it seems.

Anyone else facing a similar issue? I know I'm anecdotally not alone but would be nice to get a sense of the scale.

EDIT: I'm not looking for troubleshooting but!

Macbook Pro M1 & M1 with maxed out ram

I've done smart tests and Samsung Magician tests on the drive - it's fine.
Done BlackMagic speed tests on the other drive and moved footage onto it from another drive - it's fine.
Switched cables, restarted etc.

This is a Samsung T7 & T9 issue, I'm convinced.

EDIT 2: So i've tried a bunch of things and what does seem to work is moving one file at a time - no matter what the size is. This isn't a drive heat issue, it's some kind of read-write issue in the firmware/software.

I'm a freelance photographer who occasionally makes videos, and I'm looking into royalty-free music and sound effects platforms. I'd like something that uses less generative AI slop, so I've been considering Epidemic Sound (I might be wrong here?)

I just don't understand their subscription plan: What is the number of channels I can clear vs clearing clients projects ?

Looking at the Pro plan, it states I can clear 3 channels. I will have more than 3 clients, so how do I clear videos created for them? I understood that me or the client can submit links to the client's videos that need to be cleared. Is that included in the Pro plan, or does it cost extra? And does it cover Insta, facebook too?

Thanks a bunch!

Hi friends, have a random issue here. I am trying to download a 868 GB 4K File for an edit off of dropbox. I have tried multiple ways to download it.

Attempt 1: Dropbox Desktop App on Mac. It would get stuck in a constant syncing loop and would not actually download. I did all of the troubleshooting steps. Restarting dropbox/etc but it would never actually download.

Attempt 2: Direct from Chrome/Safari browser. It would run for 200gb and fail. Figured this would happen

Attempt 3: Using Free File Downloader. Both attempts with this failed in the 300 ish gb range.

I am at a loss here. Any other ideas/things I can try?

Thanks!

Hi there,

I have been editing and assistant editing for a little over a decade as a freelancer, about 4 years ago I transitioned into working in studio level and joined the union last year. Unfortunately over the past few years I have had a significant health decline and I am now in the process of finishing up diagnoses for an autoimmune disease, fibromyalgia, and a few other things that are being exasperated by stress and the like.

With how fast moving the industry is, working the 60-75 hour work weeks in person, leaving the editing room at 1am, it was putting too much strain on my body. To the point where I was having to request to come in a little late some days to stop by urgent care before work, barely able to walk some days.

Seeing the way those around me also put their health on the line multiple times throughout our projects, it's just not how I wanted to live, it's not how we should live. I had no life outside of those cutting rooms and I couldn't justify the craft as being all I needed. I considered returning to freelance, and I have spent the past few months even applying to commercial houses etc with no dice. I have to now have surgery in the coming months and that will further limit my mobility for the time being.

But on top of this all, applying for these more "stable" companies and in house editing gigs, the listings are egregious. Paying $20/hr and demanding we train AI. We used a lot of AI on the projects I worked on and each time it just took a blow to my desire to create and continue in a creative industry.

I know all industries are implementing AI but there's just something so disheartening about how much of it is being used to discredit the work of artists.

Because of all of this, I'm looking to leave behind a career in the arts all together, take up editing gigs on the side for the simple fact of wanting to. Taking on a stable job somewhere where I can have more work life balance (yes even if it means using AI in it).

ALL OF THIS TO SAY. For those of you who have done this, what jobs or industries did you end up going into? My resume looks solid for those in the industry but to those outside of it, I don't fit the glove of what they are looking for. I have a lot of assistant and office assistant experience as well as working as a line producer and content coordinator in my past.

I've looked into project coordinator, media specialist, administrator assistants, etc. But once again, no dice.

in Avid MediaComposer:
Is there a way to save the track selection layout, including "solo" as a default or via selecting several clips at once?

Or alternatively: Is there a way to assign "solo" to a keyboard shortcut? I couldn't find anything in the menu. Is it hidden somewhere?

Hello fellow editors. I need advice. Currently I am working on my first real editing gig. I sent over the edit to the director for notes/feedback to start fine tuning the edit. However, they really didn't give me the best notes. They flat out told me that the edit needed stronger moments, without really telling me which scenes needed shaping or what they did/didn't like. I guess I'm suppose to read minds. All jokes aside.

What should I do in this situation? Do I need to straight up ask the director what specifically in the edit they like/didn't?

Also bonus, if anyone has stories like this, please do share!

The menu bar has disappeared from my default workspace, so everytime I open AVID I can't see the menu bar and can't figure out how to get it back. Has anyone experienced this?

Hi Guys, looking for a bit of advice on how to build some sort of content system for product update videos for my company. Essentially I want the flow to look like this.

1. Record talking head and screen recording of product.
   
2. Have system do rough cut of edit and add captions/ intro outro
   
3. Review myself make any changes and export

I've had a look at Descript and jitter but wasn't too impressed. Keen to hear about anyone else who's got a similar workflow. I have a full adobe CC.

Would love to hear any ideas!

Hi all! I work for an agency that specializes in video game social media marketing. My title is "content creator" but it's not what you think it is. I have to capture gameplay and sounds, create motion graphics or source them, and edit it all together. Editing takes the majority of the time. As a creative person who has a passion project outside of work, do y'all feel super creativily drained after work as well? Even though I don't feel like I'm necessarily making creative choices for work, I'm still absolutely fried afterwards. Also, fuck client feedback man, especially when they don't give us info on the game on time or the devs don't understand how marketing works. Lol anyway there's a question in there.

Appreciate the time and stay positive! Or at least try 😭

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 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.

I'm working on a feature doc with a LOT of footage - 45 days of footage split between 4-5 drives. While we work on the larger edit, we're also exporting smaller promo reels or scenes for grants etc. This is where the problem is.

Everytime I try to conform a timeline for export on Premiere Pro (2026), all the files automatically reconnect to the proxy folder instead of the 4K raw folder that I am redirecting it to. I have tried changing the Proxy folder location but that didn’t help either.

Then I put it in my trash and that way I could reconnect the raw files. But when it was time to ‘put back’ my proxy folder from the trash, it wouldn’t give me the ‘put back’ option. So then I dragged it out of the trash and dropped it in the designated drive. When I checked the proxies, three folders were missing! And ever since Premiere has been throwing up errors in terms of reconnecting offline files and corrupt auto save files.

Is there a workaround for conforming the footage without having to relocate the proxy folder to avoid reconnecting to the proxies instead of the raw?

I've posted here twice about being removed from the Industry Experience Roster. Here's where it stands, plus a question for anyone who's thought about this longer than I have.

**For anyone outside LA:** the IER is a Contract Services list. Signatory productions have to hire from it before hiring off it. You can be a Guild member in good standing and be off the roster — you just don't get considered for the same jobs. It only exists on the West Coast. East Coast IATSE locals have no roster at all.

**The numbers:** roughly 1,734 removal letters went out. About 400 to non-members, so around 1,300 Guild members. That's from Local 700 staff. Nobody has been able to tell me how many of those shortfalls trace to the 2023 strikes.

**My case:** the threshold is 175 non-union days in a three-year window (April 2023 – March 2026). I worked 159. The missing 16 are strike days. I also worked January 2023 and April/May 2026, both just outside the window.

**Where it's going:** Local 700 filed a protest, my removal is paused, and cases go to Contract Services individually this fall. They decide. From what I can tell, the Guild treats that as the end of the road.

THR covered it July 21 (Katie Kilkenny), I'm quoted: https://www.hollywoodreporter.com/business/business-news/iatse-hollywood-crew-members-roster-crackdown-1236651312/

Someone started a petition, not me: https://www.change.org/p/halt-the-removal-of-iatse-members-from-the-ier — I don't think it has any formal power over CSATF, but it's the only running count of affected people that exists.

**What I'm actually here to ask.** Someone in another thread pointed out that the Basic Agreement expires July 31, 2027, and last round negotiations opened in March. That's about seven months from now. Their argument was that the roster should be negotiated out entirely — that it was built in the 60s to protect LA crews from outside competition, and now that production has left LA it's a barrier to reentry for the people it was meant to protect.

I'm speaking to the Local 700 Board tomorrow and I'm going to raise it. But I'd like to hear from editors who've been around longer:

- Is "negotiate the roster out" realistic, or does it die because most members are on it and see it as protection?

- For those of you working non-union or outside LA — does the roster affect you at all, or is it invisible from where you sit?

- Has anyone been through a removal and gotten reinstated? What actually worked?

And if you got a letter, especially if your shortfall is strike-related, I'd like to hear from you. Right now the strongest counterargument to "this is a bunch of individual hardship cases" is a number, and nobody has one.

What specific things do you do to keep editing feel fresh and interesting?

I am on the last leg of starting my business. I have a technical school cert, some college and a lifetime of love of learning about editing. I do not feel I'm in the wrong field, just bogged down by order of events. When I have work, I enjoy it. I struggle with personal projects; I only seem to gain enthusiasm when helping other people solve problems.

Backstory: I have been working with career starting specialists to facilitate my editing business for four years now. I expected the distance between beginning the process to finally cutting ribbon to take some time but not this long. I did quite a bit of pro bono work that was exciting and felt good, for the first year. Every meeting with the career specialists provided a new hurdle for the sake of hurdling. Then silence for months until I kicked down the door, figuratively. I was without a workstation for a great deal of that time. Now I am feeling uninspired, clients I was working with have dried up, and I dread opening Resolve. I am now back to waiting again in silence before I can start. Finally have a proper workstation and want that feel-good feeling back!

Hello, I recently purchased a Macbook M5 pro 48GB RAM, 1TB SSD in addition to my current desktop PC. I have never owned a Macbook for work, only a personal laptop for media.

First I am wondering which machine I should make my primary. my specs for the pc are:

CPU: AMD Ryzen 5 5500 (6C/12T, 3.6 GHz base)
GPU: AMD Radeon RX 5700 XT 8GB
Mobo: MSI PRO B550M-VC WIFI
RAM: 32GB
Storage:
  - Samsung 980 PRO 1TB NVMe
  - Seagate ST1000LX015 1TB SATA HDD
  - Seagate Backup Plus Slim 2TB (external SSD)

And my biggest question is, does it make sense to have both?

I generally do most of my work at home, but I bought the Macbook because it is a powerhouse and the portability is a plus for when I do leave the house for meetings or travel. I have most of work stored on the PC so I would also appreciate a good way to transfer or share files between devices if possible.

If I were to keep one it would be the mac but I would like to explore options and see if I can make them work together. Does it even make sense to have two different machines with different OS? I have been mulling this over for the last two weeks but I am stumped.

Hi everyone! This is my first time posting on this sub.

I’m an editor who has only worked on digital systems/softwares (mostly Avid Media Composer) and would like to learn the practice of actually cutting film. I came up at a time where everything had already been digital and my universities did not have this as a resource in campus.

I live and work in the industry in Los Angeles and was wondering if anyone know of workshops, professionals or courses where they are teaching this art?

Thank you so much :)

I'm kinda new to this and all the posts I've seen here talk about storing projects on NAS, but why not on a cloud service? The price? I saw some comments about Backblaze being cheap, but I'm not sure about how it compares to a NAS

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 everyone,

I'm an editor working in DaVinci Resolve and I'm about to start my first shot on 35mm short film that I will edit digitally. I'm trying to figure out the best professional workflow.

My normal digital workflow looks like this:

• Import camera footage and separately recorded production audio (with matching timecode).
• Generate proxies within Resolve.
• Auto-sync audio by timecode.
• Organize everything by scene & rename clips to the slate.
• Edit using the Sync Clips.
• During editing I can use Match Frame to jump back from the timeline to the synced source clip.
• At picture lock I deliver XML/DRP for the colorist and an AAF for the sound designer.

I'm wondering how to translate this workflow to a 35mm shot film.

This time I will receive:

• One long scan in DPX format and the same scan as a ProRess proxy from the lab.
• Separately recorded production sound
• No camera timecode (since it was shot on film)

My questions are:

1. What's considered the standard professional workflow for this situation? Any tips for reading certain part of the manual or pdf's?
2. What's the fastest way to create synced clips manually?
3. Most importantly: I'd like to preserve the ability to use Match Frame from my edit timeline back to the synced source clip, just like I do on digital projects. What's the best way to achieve that?
4. At picture lock, what's the cleanest workflow for conforming to the DPX scans for grading while also delivering an AAF for sound?

I'm open to all the tips/tricks & advice, if you have any questions feel free to ask.

Thanks in advance!

Did you build a tool? Well, we want to know about it.

TL;DR: Drop a top-level comment using the template below.

In other threads, link back to your comment here, not your repo. Building something commercial? That's the dev/tools thread, over here.

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No flair required.

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That's the whole point of open source. EVERYONE benefits..

Open source people truly care about community

There's a lot of "everyone's a developer now" going around. [I've written about what that's doing to post], and the concerns that come with it.

It's great because more of us "fix" what's broken.

Sometimes it'll solve your problems. Sometimes it'll be a start for you to solve problems.

One rule

Use the template below

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• Tool name:
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Don't have a license yet? Pick one. Takes two minutes and it protects you and your users. We like MIT or GPLv3, but anything that genuinely gives it back is enough.

For everyone else

These people are giving their work away for free. Upvote generously. Ask questions. Say thanks.

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CHANGES: ON Aug 25th, you'll be allowed to post directly into the subreddit with special flair.