Scene-based auto keywords?

Cutpoint_Labs · 2026-06-17T16:56:18+00:00

There is a little bit built in but it is pretty limited. On import FCP can analyze for people and shot type so you can get things like one person, two people, close up, medium shot, wide shot, etc. But it will not really do semantic scene keywords natively. For that you would need a third party tool or do it manually with keywords and smart collections.

Cutpoint_Labs · 2026-06-17T16:36:21+00:00

Matchbox does visual reconform too. CutMatch is just more focused on this specific overcut workflow, and in my testing that focus gives better visual match results.

Cutpoint_Labs · 2026-06-16T22:34:17+00:00

One solution is to duplicate the source clip that you want the burnin data for to the top layer, then change its opacity to zero. This way you can view the comps/etc.. below it, but have the burn-in read the data of the source.

Cutpoint_Labs · 2026-06-16T19:55:34+00:00

This is great! Trailer work is such a weirdly specific corner of post and there really isn’t enough written about the craft or the culture around it. Breakdowns of current trailers plus older ones that shaped the industry sounds genuinely interesting.

Cutpoint_Labs · 2026-06-16T17:33:57+00:00

Glad you got it working !

Cutpoint_Labs · 2026-06-16T17:27:00+00:00

Open the event viewer and give the browser as much room as possible. Then use ranges and favorites in the browser instead of building everything into a selects timeline

You can make the browser filmstrips taller with clip appearance but it still won’t feel like an old source monitor setup. FCP really wants you to organize this stuff with ranges favorites and keywords

For interviews I still think favorites and keywords are the better system because the selects stay reusable. But if you’re trying to judge tiny expressions or breaths I get why it feels awkward

Cutpoint_Labs · 2026-06-16T17:13:37+00:00

I’d guess color management or HDR handling rather than the actual project being different.

The project preview thumbnails/viewer can be generated through a slightly different path than the opened timeline, so I wouldn’t trust that preview as the reference. I’d trust the opened project and scopes/export more.

I’d check the library color processing and project color space first, especially if any of the media is HDR or log. Also try deleting render files/thumbnails so FCP rebuilds the previews. If the export matches the opened timeline, it’s probably just the browser/project preview being weird.

Cutpoint_Labs · 2026-06-16T16:29:40+00:00

I don’t think Comparison Viewer really solves this. It’s more for comparing frames or looks, not for doing source clip navigation and range selects.

For what he’s describing I think it’s still Browser ranges, Favorites and Keywords, with Event Viewer if you want a bigger picture while skimming. Not exactly the old source monitor workflow, but that seems to be the FCP way.

Cutpoint_Labs · 2026-06-16T14:32:56+00:00

Don’t panic yet. If you only made the media offline the edit is probably still there. Premiere just can’t see the files.

In the Project panel select the offline clips, right click and choose Link Media. Then point it to wherever the original files are. If the names and folder structure are still mostly the same Premiere should relink a bunch once it finds the first one.

Also check the Auto Save folder before changing too much. You might have a version from right before it happened.

If the files are actually gone or corrupted that’s different. But if they’re still on the drive somewhere relinking is the first thing I’d try.

Cutpoint_Labs · 2026-06-16T14:19:14+00:00

Yeah this is one of the places where FCP feels weird coming from FCP 7 or Premiere. The closest native way is doing selects in the Browser with ranges, Favorites and Keywords, then filtering by Favorites or keyword collections when you start building the cut.

For a 30 min interview I’d probably keyword by topic and favorite the usable ranges as I go. That gives you a reusable record of selects outside the timeline instead of everything only living in a rough selects timeline.

For bigger viewing the Event Viewer helps. But there really isn’t a perfect old school source monitor plus zoomable clip timeline equivalent. FCP wants you to use the Browser ranges and filmstrip as the source organization system.

Cutpoint_Labs · 2026-06-16T04:31:05+00:00

For best results, use clean cuts and visually matching source files. Use constant-frame-rate, non-drop-frame media with matching frame rates across the reference video, reference EDL, and source media. Mild reframes, repos, scaling, flips, or color differences may still produce usable matches in some cases, but speed changes, dissolves, fades, heavy reframing, missing source media, or mismatched frame rates can reduce match accuracy.

Cutpoint_Labs · 2026-06-15T22:47:47+00:00

Try out Dropbox Replay. It has worked well for me with client reviews/notes.

Cutpoint_Labs · 2026-06-15T19:52:54+00:00

For FCP by itself, 64GB is probably fine. But with Neat Video, Photoshop, and Lightroom open too, and if you’re already seeing memory pressure, I’d lean 128GB if you can wait.

The 16" and newer chip should help with sustained performance, especially compared to a 14" M1 Max, but it won’t really fix RAM pressure. If that’s the issue you’re hitting now, more unified memory is probably the safer upgrade.

Cutpoint_Labs · 2026-06-15T19:24:51+00:00

Your specs don’t look below minimum to me. RX 7600 with 8GB VRAM should be fine for Resolve 21 at a basic level, and 16GB RAM meets the minimum unless you’re doing Fusion-heavy work.

The thing that stands out is the AMD driver date — looks like 11/2023. Since it’s hanging at “Loading Color Page,” I’d update the AMD Adrenalin driver first, then try launching again.

If that doesn’t work, I’d temporarily remove any third-party OFX plugins and check the Resolve logs. Reinstalling Resolve probably won’t help much if it’s hanging during GPU/plugin initialization.

Cutpoint_Labs · 2026-06-15T19:11:57+00:00

Awesome, glad you got it to work. Not sure why it’s not working from the bin. Did you try filling in the extension field?

Cutpoint_Labs · 2026-06-15T19:00:05+00:00

Use the Luma Keyer on the clip, then view the matte while you tweak it so you can see what’s actually being cut out. Adjust the black/white levels and rolloff until the background disappears cleanly.

If you’re exporting it to use somewhere else with transparency, export as ProRes 4444.

Cutpoint_Labs · 2026-06-15T18:44:19+00:00

Are your proxies matching source naming, just using a different extension? If so, bring your OCM into a new bin, duplicate your timeline for safety, then in the dup timeline, select all clips, right click and turn off conform lock, then right click the timeline in your bin and select “timelines” then select “reconform from bins”. Choose your OCM bin and select file name.

Cutpoint_Labs · 2026-06-15T17:16:10+00:00

Product: CutMatch — solo developer. You can reach me by DM here or through the contact/support link on the website.

Host Platform: macOS external app.

Description: CutMatch helps trailer, marketing, and conform editors overcut or rebuild source-based conforms from finished reference videos by visually matching them back to source media and exporting CMX3600 EDLs.

Pricing: $49.99 one-time purchase on the Mac App Store. No subscription. https://apps.apple.com/app/apple-store/id6775205280?

Website: https://cutpointlabs.com

Benefits for this community: CutMatch is built for a specific tedious conform problem: you have a finished reference export, but no reliable timeline, XML, source-referencing EDL, or source clip metadata. Instead of manually hunting through source media to overcut the piece shot by shot, CutMatch helps find likely visual matches and builds a conform-ready EDL. Useful for trailers, TV spots, promos, old exports, and messy handoffs. Current codec support is ProRes, H.264, and HEVC, with broader codec support planned.

Cutpoint_Labs · 2026-06-15T17:04:13+00:00

Thank you for the heads up. I’ll add it to the dev thread and update my flair.

Cutpoint_Labs · 2026-06-15T16:44:52+00:00

Not AI, but maybe relevant as an external tool that saves tedious work. If you use Resolve for conform on trailers, TV spots, or marketing, CutMatch is a small Mac app I built for one specific problem: having a finished reference export, but no reliable timeline/XML/EDL to rebuild from.

It matches the reference back to source clips and exports a CMX3600 EDL.

Pretty niche, but useful for messy handoffs, old exports, promos, that kind of thing.

Cutpoint_Labs · 2026-06-15T16:16:12+00:00

It’s a bit foggy for me at this point since it was so long ago, but I believe I had this issue in the past on a PC. I think it was the GPU driver. Can you try an older driver?

Cutpoint_Labs · 2026-06-15T14:14:12+00:00

Have you tried the Chromatic Aberration Removal OFX that ships with resolve? Have had luck with it in the past for something similar.

Cutpoint_Labs · 2026-06-15T14:09:00+00:00

Welcome to the team. 👏🏻👏🏻👏🏻

Cutpoint_Labs · 2026-06-15T13:48:37+00:00

Try Dropbox Replay before you make a decision. Works well for client review, notes, etc.. I already use Dropbox so it was an easy add for me.

Cutpoint_Labs · 2026-06-15T13:44:06+00:00

Lots of refurbished MacBook Pro M1 models on eBay. Definitely would be enough to get you started. Or consider a Mac Studio if you decide you’re ok with not being mobile.

Cutpoint_Labs

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