Built for people who live behind cameras
Several cameras, one reference audio, zero desire to spend the night syncing.
Festivals, clubs and big events
DJ nights, clubs, festivals. 3 hour static cameras, roaming clips, mixer line and a crowd mic: everything locked to the millisecond, with drops, roars and track changes already marked.
Music videos
Multiple takes on the same track: SemSync aligns every take to the master audio and lays out the bar grid so you can cut on the beat.
Podcasts and corporate
Three cameras on the guests, the recorder audio underneath, a timeline ready to trim in minutes. Works for conventions and company talks too.
One real night, in numbers
A six hour set, three static cameras and the mixer. This is what SemSync did on its own.
And how long does it take? Task by task, timed, longest first:
While the engine grinds, Resolve stays free and you do something else: your time at the screen is picking the folder and pressing one button. What takes days of scrubbing by hand is a coffee break here.
Sync is just the beginning
It does not just align: it edits. A directing assistant, not a ruler.
Sync to the millisecond
Every clip locked to the reference audio with millisecond precision. And when the reference is not a mixer but a room microphone, SemSync compares how it sounds instead of the waveform: validated on a real night, 20 clips out of 20.
Drift correction
Camera clocks slip: over 3 hours that means lost frames. SemSync measures the slippage and corrects it from start to finish.
Anti-loop
Electronic music repeats itself and fools ordinary software. The engine votes across several points of the night and does not get tricked.
Automatic directing
A ready-made edit that cuts on the beat: the wide camera on the drop, the roaming one on the roar, the others in rotation. With dynamic punch-ins.
Smart markers
Thousands of coloured markers: bar cuts, phrases, drops, crowd and track changes. Fine editing becomes a walk in the park.
YouTube chapters
Track changes become chapters ready to paste into the description. One click and they are on the clipboard.
Directing styles
Club night, Festival, Frantic, Music video, Podcast: one click sets the hold, the lead-in, the punch-ins and the maximum shot length. Tweak whatever you like.
The edit at a glance
Before opening Resolve you see the whole edit on one strip: a lane per camera, drops, build-ups and tracks. The magnifier shows you every single cut.
Technical export
Resolve presets or your own format, codec and resolution. Dry run before rendering, the project .drp archive in one click and, if you want, the computer shuts itself down when the queue ends.
Cut where the music really changes
Being on the beat is not enough. When the hit lands, when the bass drops out, when the highs open up, that is where the cut must be. SemSync measures the energy of every bar in three bands and treats those points as mandatory cuts.
It does not just hear the music. It watches the footage
Hearing the drop is not enough: if at that moment the camera is shaky, dark or pointing at a wall, the right cut becomes an ugly shot. SemSync opens the footage and keeps a diary of what is inside, camera by camera, moment by moment.
Dj, crowd, hands, lights, stage, empty room, and how close the framing is: from extreme wide to close-up. This is what the vision model is good at, and it runs without a graphics card.
Shaky, blurry, dark, something in the way: these are measured on the pixels, one by one. We once asked the model "is this blurry?" and it said yes even on sharp photos, so that job is not its job and we no longer ask.
The music leads, the eye saves
Where the music has a strong reason, the drop, the build-up, the crowd, the change, the cut stays where it is: there the eye only steps in if the image is ruined. Where there is no strong reason, the eye picks the camera worth the most at that moment.
The aftermovie also picks what to show
Not just the strongest moments, but the alternation too: a wide, a close, a detail. So the minute and a half you send the client is not the same framing over and over.
You can read the diary
Inside the app there is the eye card: what it saw for each camera, how close it frames, and the list of shots it flagged as unusable, with the exact time.
Let the client choose
The client does not need the three hour multicam: they need the good bits. SemSync pulls them out on its own, the client picks, you only edit those.
The night, ready for social
A vertical aftermovie and the clips of the strongest moments, in 9:16, 4:5 and 1:1. MP4 files ready to upload, with the mixer music underneath already at social loudness (-14 LUFS). And for the whole night there is the delivery audio: mixer plus a touch of crowd, at the right volume for YouTube, social, club or TV. No need to open Resolve, nothing to crop by hand.
Club clips, cut on the drop
A club job is not a multicam night: it is a folder of loose clips, and a long take holds more than one song. SemSync keeps only the videos, finds the hit inside each take (10 seconds before, 15 after), builds the timeline in Resolve, vertical or horizontal, matches the colour across cameras and finally delivers: one render per clip, queued, with a clean name.
Three moves and you are home
Simple outside, ferocious inside.
Drop the files into folders
One folder for the night: MIXER (the reference), the cameras, the roaming clips.
Press Sync
From the SemSync app, opened from the Resolve menu. The log scrolls live, you do something else.
Edit
SYNC MAP with everything aligned, ROUGH CUT with the edit already made. From there it is all yours.
Tutorial: from the card to the timeline
A few steps, each with its own scene. Click the steps, use the arrow keys, or let it run.
Prepare well and SemSync does the rest
SemSync works even with beat-up in-camera audio, it was built on nights like that. But ten minutes of care before shooting turn a great job into a perfect one. Here is what to ask your crew.
Sound is the compass
- YESRecord the mixer all night. It is the reference for everything: one line feed from the desk, start to finish. If the recorder splits files every 2 GB that is fine, SemSync joins them back.
- YESEvery camera must record audio, even bad audio. It just has to hear the same music: that is what SemSync locks onto.
- NONever turn a camera's audio off. A mute camera cannot be synced in any way.
- YESManual level, kept low. Clubs go past 100 dB: set the gain to minimum or around -20 dB. Clean quiet audio locks far better than loud distorted audio.
- NONo automatic gain (AGC) if you can turn it off: it pumps and distorts exactly in the loud moments, the ones that matter most.
- YESA small external mic pointed at the speakers on the static cameras: costs little and doubles the strength of the lock.
Fewer stops, fewer problems
- YESStart everything early and let it roll: SemSync needs thirty seconds of shared music to lock, but the more the better.
- YESContinuous recording on the static cameras. Every stop and restart is one more file to lock.
- YESSame frame rate on every camera. Mixed resolutions are not a problem, mixed frame rates complicate the edit.
- YESIf the cameras have timecode, use it (jam sync at the start of the night). Not mandatory, but one more seatbelt.
- NONo need to chase drift. Every camera's internal clock slips on its own, and no setting prevents it: SemSync measures it across the whole night and corrects it by itself, point by point.
Offload the way SemSync speaks
- YESOne folder per camera inside the night's folder, using the standard names: MIXER, CAM_FOH, CAM_BOOTH, CAM_DX45, CAM_SX45, MOB_DJ, MOB_PISTA, MOB_PUBBLICO, AMBIENTE.
- YESThe names are not a whim: the directing uses them. On the drop it cuts to the declared wide, on the crowd roar it goes to the crowd roaming camera.
- YESThe ambience microphone (AMBIENTE) is optional but precious: it is what tells SemSync when the crowd explodes.
- YESSemSync itself creates the folders, from the Prepare tab: tick what you have and it lays them out with the right names.
Open the printable crew sheet (in Italian) and hand it to the crew that same night: one page, with boxes to tick and room to note what went wrong.
What it costs
One licence, one computer. Switch machines whenever you like: detach from one, attach to the other.
- All of SemSync, updates included
- 1 computer at a time
- Cancel anytime
- The same 12 months for €180 less
- 1 computer at a time
- Price locked for the whole year
- Pays for itself in two and a half years
- 1 computer at a time
- Updates included
- More seats on one licence
- Single invoice
- Direct support
Want to try it first? Download SemSync and write to us: we will give you a trial code. Already bought and lost your code? We send it again.
Requirements
Not much, but the right stuff.
You need
· Windows 10 or 11 (the package also ships the Mac install, in testing)
· DaVinci Resolve Studio (the paid version: scripting needs it)
· Free Python 3 (if missing, the installer guides you)
· A clean reference audio (mixer line or recorder)
Good to know
· Everything runs on your PC: the videos never leave your machine
· Internet is only needed to link the account (then you can work offline)
· Your files are never touched: SemSync only reads
· Works with MP4, MOV, MXF, WAV, MP3 and the common formats
· Handles 100+ GB files without copying them
Download SemSync
Free beta for Windows. We improve it all the time: every version syncs better and edits better. It will become paid in the future, and whoever tries it now helps it grow (and earns some special treatment).
⬇ Download SemSync beta (ZIP)- SemSync (engine + app for Resolve)
- INSTALLA.bat: automatic install
- AVVIA_SEMSYNC.bat: double-click start
- LEGGIMI.txt with the quick guide (in Italian)