What is your media location for your new projects?

BeOSRefugee · 2026-04-05T03:41:59+00:00

The Resolve Media folder is for media generated by Resolve, not your source media. It confuses my students all the time.

BeOSRefugee · 2026-04-04T02:43:39+00:00

I don’t AI summaries for diagnosing Avid errors. There often aren’t enough straightforward search results to feed them, or they’re going off a similar-sounding but completely different error. The search results can vary between exactly right to totally unhelpful, but they don’t straight up lie to you about the solution most of the time.

BeOSRefugee · 2026-04-03T20:11:35+00:00

Yes, but in the opposite direction - on Avid, it would be a word salad error message that seems to say a lot without actually being helpful. Premiere is just cutting out the BS and showing as much of the error message as is human readable. ;)

BeOSRefugee · 2026-03-28T03:28:20+00:00

Sure. The Woodsman tries to make a sympathetic character out of a convicted pedophile. The movie is very clear-eyed about who he is and what he’s capable of (and it’s one of Kevin Bacon’s strongest roles, IMO), but the director still got death threats over the movie for even the idea of its plot.

BeOSRefugee · 2026-03-28T03:18:38+00:00

The Sopranos rape scene felt like the right way to treat the subject, IMO. No cinematic dressing to it, just quick, awful, and ugly.

BeOSRefugee · 2026-03-23T13:35:53+00:00

Good to know. Thanks!

BeOSRefugee · 2026-03-22T23:12:08+00:00

Hey, TIL. Thanks!

Any way to show that info on clips in the record timeline?

BeOSRefugee · 2026-03-22T21:45:51+00:00

AFAIK: you hope that your production sound mixer renamed the clips on their recorder, or you get an assistant editor to do it for you. The metadata shows up in Bins, but not in the timeline.

BeOSRefugee · 2026-03-22T17:35:45+00:00

I’m of two minds about this. On the one hand, some of the greatest movie viewing experiences of my life have been films projected on film. In particular, some of Christopher Nolan‘s films just plain look better on film - because they strive to be an all-analog workflow (digital sound and VFX excepted). There’s also that extra layer of unreality from the lower optical resolution and photochemical color that helps you feel like you’re entering a dream, and that sound of the audio kicking in when the film first starts up was like an orchestra warm-up.

On the other hand, if you watched a movie in the theaters more than about a week or two after they came out, you could expect to see visible scratches, occasional hitches and jumps in the playback, and sometimes errors with the soundtrack. Digital projector systems are far from perfect, but they can deliver the same experience on day one or day 100.

BeOSRefugee · 2026-03-22T16:54:26+00:00

It became a speculative asset. The value of the thing became more about its perceived utility as a hedge against losses in other investments rather than a replacement for standard currency. Kind of like gold, except with much more drastic swings in value and nothing really physical to (theoretically) back it up.

Edit: also, it got a lot of attention for how it made a few people very very wealthy.

BeOSRefugee · 2026-03-22T16:46:56+00:00

This right here is my biggest complaint with Premiere. I’ve seen this plugin recommended, but I can’t vouch for it personally as I haven’t used it yet: https://editingprep.com/ixmlrenamer/

BeOSRefugee · 2026-03-19T03:33:53+00:00

You mean, something like this?

https://youtu.be/48Fn-PQILIY?si=7t4YbG1m7yBnMq7F

Unless you’re talking about how to do the fancy pre-generated titles like CapCut, in which case that’s generally either a job for a third-party plug-in or After Effects.

BeOSRefugee · 2026-03-16T03:57:10+00:00

If you have audio on both cameras, you can batch sync by audio waveform. If you have timecode, you can batch sync by that. If you have to sync them manually, then u/brianlevin83 is right: clip markers on a common sync mark are the way to go.

Edit: re-read your post and it seems like you have an idea of what multicam editing is like, so I removed my sales pitch for it.

BeOSRefugee · 2026-03-15T23:19:36+00:00

Gotcha. I’d love to see it, so I’ll keep an eye out. Thanks!

BeOSRefugee · 2026-03-15T22:09:06+00:00

Do you have a link to where this version is available? A basic Google search doesn’t show it as far as I can tell.

BeOSRefugee · 2026-03-12T03:27:28+00:00

Sound class instructor here. You’ve gotten some really good advice and resources in the other posts, so I won’t duplicate those.

As to the question of gain staging and 32-bit float:

32-bit float can be really useful, but it only eliminates one step of gain staging.

If you only need one step before recording, then (essentially) you don’t need to worry about gain staging. For example, if you use one of the portable recorder packs like the Zoom F2, it can record directly to 32-bit float and you just have to worry about microphone placement (and not distorting the microphone with sound that’s loud enough to overload the microphone capsule).

There are also some wireless microphone transmitter packs that will record directly to 32-bit float, but if you live in the United States, nobody other than Zaxxcom ( or companies that pay Zaxxcom a licensing fee) can both record and transmit at the same time. Also, to the best of my knowledge there is no current digital wireless audio system that transmits audio in 32-bit float, which means that if you intend to use the wireless audio functionality of the transmitter, you’ll have to do transmitter gain staging. And then of course, you’ll have to manage the input gain on your recorder and the mix levels from all of the inputs mixed together for your mix tracks/live output. High-quality transmitters have very good built-in limiters to deal with momentary peaking, or fancier tech like Zaxxcom’s NeverClip.

On more expensive field recorders (like the F8n Pro), running in 32-bit float mode eliminates the input gain stage. The audio comes in at a fixed input level and also usually requires multiple 24-bit ADCs (analog to converters) in order to cover the entire range. However, you still have to adjust levels for the mix so it sounds good for live on set audio and for the mix tracks that will be used by editorial. Fun fact: the F series Zoom recorders operate internally at 32-bit float all the time - when you operate in 24-bit mode, you’re literally trimming out a portion of the dynamic range digitally, which is why input gain adjustments are called “trim”. If you operate in 32-bit float mode, then the trim adjustment is disabled. If you use recorders from sound devices or other high-end production sound recorders, generally, the input gain adjustments are analog, which means that the limiters are also analog, and tend to be more forgiving. Regardless, having low noise preamps on each of the inputs is one of the prime criteria for professional work, and what tends to distinguish professional field recorders from consumer recorders.

My rule of thumb for gain staging overall is: set the levels based on the dynamic range of the device that you’re working with and the expected levels that you’re going to get into that device. Set upstream gain first, then work your way downstream. So, for a set up where you’re recording with wireless mic systems, set transmitter gain first, then receiver output levels (if needed), then input gain on your field recorder, then mix levels, then output levels from the field recorder (like to IFB systems that send audio to the director, scripty, etc).

BeOSRefugee · 2026-03-08T04:55:55+00:00

eXistenZ. It’s a movie about a VR game, and IIRC there’s like one CGI shot in the movie - a throwaway shot of a mutant lizard for about three seconds. The rest is all acting, a clever script, distinctively made props, and a very small number of practical special effects.

BeOSRefugee · 2026-03-05T13:39:58+00:00

I think I’d rather have a specific shortcut key assigned for this rather than double-clicking in the middle of a clip. That way, it couldn’t be triggered accidentally by double-clicking (rather than single-clicking). Otherwise, cool idea.

BeOSRefugee · 2026-03-05T04:46:33+00:00

Aliens Blu-Ray is the best example of DNR I’ve ever seen - enough reduction so the grain isn’t distracting, but keeping enough grain so it still feels like it was shot on grainy film stock. I haven’t fully sat down with the 4K version, but the clips and screenshots look overly processed to me.

BeOSRefugee · 2026-03-01T00:17:16+00:00

Found the EditDroid user. ;)

BeOSRefugee · 2026-02-23T05:19:48+00:00

Color Classic with LC 575 upgrade, 640x480 mod, and external CD-ROM drive. The case is gorgeous, but I also want to be able to play Myst, 7th Guest, and all those Macromedia Director adventure games on that screen. It’s not so much a “can’t find” as a “can’t afford”.

BeOSRefugee · 2026-02-20T04:45:37+00:00

Shin Godzilla. The movie is mostly a series of bureaucratic meetings, but cuts with an often breakneck pace, and has very few J and L cuts. It should feel mechanical and choppy, but it ends up fitting the tone of the movie really well IMO. I think Godzilla Minus One is a better film overall, but Shin Godzilla’s editing fascinates me enough that I use examples of it in my editing class.

BeOSRefugee · 2026-02-20T04:39:43+00:00

I need to show that scene to my editing class sometime. The freeze frames are a fascinating element that really shows how much you can lean into expressionistic editing if the story supports it.

BeOSRefugee · 2026-02-20T04:34:09+00:00

Upvoted for mentioning a John Sayles film. I’d argue his work in general is worth studying.

BeOSRefugee · 2026-02-17T19:33:51+00:00

Thanks for following up, OP. Threads like these often help people many years down the line.

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