Reels, YouTube, subtitles
The eye watches all the footage, picks the good shots and builds the reel from the storyboard, vertical, following the subject. Subtitles, chapters and copy come from the voice, and nothing leaves your computer.
The reel and the vertical
Written, dictated, or imported. Or proposed from your own footage, following the steps of the story.
In 9:16 the crop follows faces and detail, smoothed and speed limited: not the centre of the frame.
Fifteen seconds is a tight reel, forty-five breathes: it changes the pace of the edit, not just how many shots fit.
The frame moves slowly where the shot is still, the whoosh lands a sixth of a second before the cut, the impact only if the cut sits on a strong beat, and overlays one every three scenes.
The folder where you keep overlays and transitions is picked once and holds for every job. Transitions straddle the cut, half out and half in, so the reel still assembles by copy.
Anyone shooting a flat profile used to get a milky reel: now levels, white balance and saturation sort themselves out, measured on the frames already read.
The eye
Before editing, every shot is actually looked at, piece by piece.
It sorts clips by category (the detail, the chef, the room, the dj, the crowd, the aerial), measures whether they are sharp, exposed and steady, marks the heart of every clip and sets the rejects aside.
Not just how the shot is made: whether there is a gesture inside it. Where the category promises movement, a perfect still loses to a living shot.
In a club the strobe changes the exposure between one frame and the next, and it is why vision systems born on sports fields break in a nightclub. With the flashes, tracking goes from 14 points out of 300 to 300 out of 300.
With similarity and technique equal, between two shots it picks the more beautiful one, and the opening demands more of it.
The voice
The voice is recognised on your own computer. No file leaves the building.
Written from the voice onto the already trimmed timeline, in Italian, English and other languages, even without Resolve.
YouTube chapters, title, description and hashtags taken from what you actually said, not from a template.
Pauses and filler words are taken out on their own, and the thumbnail is the sharpest frame in which you are talking to camera.
The tools
Renames the footage, builds the proxies, cleans up the audio, writes the chapters and packs the folder to hand to the client.
Before you start: what you shot, at what frame rate, what does not add up.
The formats Resolve struggles with become files it opens without thinking.
It tells you where the space went (including the system data nobody can explain) and sends caches and temporary files to the bin. To the bin, never for good.
RAM, processor, the night's drive and the graphics card, before you start, with who is hogging what and what is worth closing.
A folder with several nights inside: SemSync works them one after another, even with nobody watching.
The program
One package to download, in English and Italian, and every error tells you what to do instead of showing a code.
There is no Windows build and a Mac build to keep in step: it is the same package, from the same link. On Mac it runs the same code, tried on two real Macs from the install to the export.
The page is born dark, from the very first instant, with no white flash in your face at four in the morning. The light theme is still there, in Account.
Every sentence the program says exists in both languages, including the ones coming from the engine: a test turns red if tomorrow we write one without its English.
Never 'check the log'. It says what is wrong and what to do now, and where the box is.
The work all runs on your computer. The internet is only needed to link your account, then you can work offline.
What it costs
One licence, one computer. Change machine whenever you like: detach it from one and attach it to the other. The subscription exists because SemSync changes every week, and almost always because of somebody's real night: subscribers find the changes inside the next day, with one button. For festivals, venues and studios with more seats there is Enterprise, tailored.
per month
per month, paid once a year · 240 euro
SemSync CREATOR · Doing content rather than club nights? The Creator plan opens the Creator and Clipmaker doors: trimming, cameras on the voice, subtitles, reels, exports for TikTok, Instagram and YouTube. When you need multicam nights, you move up to Pro.
every month, cancel whenever
a year · 12.40 a month
You have 14 days to change your mind, and we give the money back without asking why.
SemSync Festival · the long night for venues and festivals, Enterprise plan, on quote: the page
Questions
No. With Resolve Studio, SemSync builds the project and the timelines inside Resolve, with nothing to import: it is the only version of Resolve that takes commands from outside. In Premiere Pro there is the SemSync panel: you open it from Window > Extensions and the timeline goes into the open project. With free Resolve or Final Cut Pro, SemSync writes the timeline file and you import it. Colour stays a Resolve Studio thing: the tables and the camera match are written onto its nodes, and they do not fit in a file. Said honestly: we check the file frame by frame at every release, but we have not yet opened it inside a real Final Cut or free Resolve, and the Premiere panel has only just landed. Until someone tells us how it went, we call those paths beta.
The Creator and Clipmaker doors: the eye on your footage, the reel from the storyboard, the vertical with the subject followed, subtitles and chapters from the voice, and exports for TikTok, Instagram and YouTube. It does not open multicam nights: for those you need Pro.
No. Everything runs on your computer and your files are never touched: SemSync only reads them. The internet is only needed to link your account.
The job runs anyway. SemSync takes the camera that filmed the most as the reference and tells you so; if you prefer another one, you pick it. On a real night with no mixer, 20 clips out of 20 were locked. And if the reference camera only covers part of the night, it tells you while it works, not when you watch the video.
Both. It gives you a real timeline inside Resolve, with the cuts already in place, and the edit stays yours: you work on it as you like. And if you need a ready video to hand over, that comes out too: the whole set in vertical 9:16 with your colour file, the clips on the drops, the aftermovie. Before telling you it is ready, SemSync checks that the file lasts as long as the edit, and warns you if the music is missing anywhere.
It depends on the computer, on how many cameras and on how long the night is, so we only tell you what we have timed. On 22 September 2026, on a real night: a 77-minute set filmed by three cameras, almost three hours of footage in all. Synced and edited in 4 minutes 18 seconds, 1,197 cuts, on a laptop with an Intel Ultra 9 275HX. We did not take that time with a stopwatch: the program writes it itself at the end of the job, and on your computer it writes yours.
Yes, it is built for that. Write the line-up once, with each artist's time and genre, and SemSync prepares a folder for each one. You copy the cards when an artist steps off the decks; their set comes out on its own, synced, edited and also vertical 9:16 with your colour, one after another, even with the app closed. A board tells you who is ready, who is in the queue and how much drive you have left, told in hours of party. If a set breaks, it is marked to redo and the others carry on.
Yes. It is the same package and the same code, and on two real Macs it did everything: install, licence, syncing the night, the timeline in Resolve and exporting the videos. For now you install it from the ZIP; the double-click installer comes later.
MP4, MOV, MXF, WAV, MP3 and the common formats. It also works on files over a hundred gigabytes without copying them.