Questions About Video Editing?
We've compiled the most common questions about motion picture editing workflows, timeline management, and professional post-production techniques. Find clear answers to help you navigate your editing journey.
Frequently Asked Questions
For professional work, we recommend ProRes 422 HQ for editing and DNxHD for cross-platform compatibility. H.264 works for preview but creates rendering bottlenecks during color correction. Always keep your original camera files as masters – whether that's RED RAW, ARRI ProRes, or Sony XAVC. The key is matching your codec to your workflow rather than using whatever the camera defaults to.
Budget around 500GB for a 10-minute 4K project including proxies, renders, and versions. This assumes ProRes editing codecs – RAW formats need 2-3x more space. I always tell clients to double whatever they think they need because projects grow. You'll have multiple cuts, color grades, audio stems, and backup versions before you're done.
Yes, absolutely. Even high-end systems benefit from proxies when working with 4K footage. Create 1/4 resolution ProRes Proxy files – they maintain enough quality for precise editing while keeping your timeline responsive. Modern NLEs like Premiere and Resolve handle proxy workflows seamlessly. The time spent creating proxies pays back immediately in smoother playback and faster exports.
Color correction fixes technical issues – exposure, white balance, contrast problems. It's making the image look natural and consistent. Color grading comes after and creates the visual mood – the cinematic look, stylistic choices, creative enhancement. Think of correction as fixing what's wrong, grading as making it look intentional and artistic.
Use timecode sync whenever possible – it's rock solid. If you don't have synced timecode, record scratch audio on camera and use waveform matching in your NLE. PluralEyes or similar tools work well for multi-camera setups. Always record a sync clap or use automatic sync markers. Double-check sync periodically throughout long takes because drift can happen with mismatched frame rates.
YouTube and Vimeo: H.264, 1.4x your timeline resolution, VBR 2-pass encoding. For broadcast: follow the specific delivery specs exactly – usually DNxHD or ProRes with embedded timecode. Social media varies but generally H.264 with square pixels. Always export a master file first (ProRes or DNxHD), then create distribution copies from that master.
Hardware acceleration makes the biggest difference – use GPU encoding when available. Clear your media cache regularly, close other applications during exports, and use optimized media for timeline playback. If possible, dedicate a fast SSD for cache files. Sometimes rendering in segments and reassembling is faster than one massive export, especially for long-form content.
Follow 3-2-1 rule: 3 copies, 2 different media types, 1 offsite. Keep project files and original media on separate drives. I backup project files daily and original media immediately after each shoot. Cloud backup works for projects files but original media usually needs physical backup drives. LTO tape is gold standard for long-term archival if you have the volume to justify it.
Expert Guidance When You Need It
Complex editing challenges require experience, not just technical knowledge. Our team has handled everything from independent documentaries to commercial campaigns, and we understand the real-world problems that come up during post-production.
"Most editing problems aren't really about the software – they're about workflow design and understanding how different codecs, frame rates, and delivery requirements interact. After fifteen years in post-production, I've learned that the right answer depends entirely on your specific situation and timeline constraints."
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