What changed
Every version of SemSync, from the first to the last: what was added and what was fixed, version by version.
In the Colour screen every clip goes back to the level of the first clip of its camera, the one you balanced: SemSync copies your grade to the other clips and writes only the master gain and, if you want, a gentle curve, on the last node when it is empty. Never colour, tint, saturation, lift or gamma. The old camera matching is gone, also from the long night.
SemSync no longer talks to Resolve inside the program: a separate process does it, with a time limit. If Resolve hangs, the page no longer goes white: SemSync says 'Resolve is not answering', keeps working and tries again on the next job.
Every file opens once and only the keyframes are read, with several readers at once and the graphics card where there is one: on an Amnesia set (19 4K files, 7,562 samples) three minutes instead of thirteen, with the same measurements. The cores-at-work line now tells the truth, and the exposure card shows its own log, not the Eye's.
In every night session, and in every artist of the long night, a list of what it takes to deliver: the items SemSync does by itself (analysis, Resolve, zoom, error check, colour, export) get ticked on their own, the others you tick, and every tick says who and when. Template lists for YouTube and for reels, plus your own. On the board every artist has a delivery bar. The night's QR also shows the private network address, to join from outside the studio.
In Full Set you pick the category: Club or YouTube. With YouTube every clip lasts 3.5 to 7.5 seconds and you pick the speed: fast, medium or slow, that is how many short, medium and long clips (50/30/20, 30/40/30, 20/30/50); the cameras keep equal shares and the drops and build-ups are respected. Every directing style shows the minimum and maximum clip length, and there is a Custom style: you write the lengths, the percentages of short and medium clips, the bars on the drop, the handheld camera and the rules, and the edit uses them. The previous edit does not change.
After the edit, on the open timeline in Resolve, SemSync puts the zoom: it pushes in before the drops and pulls out from the drop on, following the markers. You choose light, medium, strong or custom, and it works only between Resolve's In and Out. The zoom is the Inspector's Zoom value: you can see it and change it, and where you already changed it SemSync leaves it alone. There is also Remove zoom.
In the music edit every clip now lasts from 2.5 to 4 seconds, never clips of one or two seconds. Cuts land on the beats and on the drop, and every camera takes its share in seconds: 25% with four cameras, a sixth with six. A camera that recorded only half the set cannot give more than half of its time, the others share the rest. To get the old edit back there is the switch clip libere.
In the music edit every camera now takes the same share, with 4 cameras as with 6: before, handheld cameras and those that had recorded in chunks barely appeared. A camera that recorded less cannot take more than it has, but catches up as soon as it is there. Switch it off with --camere-non-pari. In Training the cut is one Change camera button: when you cut matters, not on which camera.
The Apply screen also shows your cutting rhythm (median shot, first cut after the drop). After Done you see what SemSync would have decided, even on nights analysed with an old version, and if it had missed the drop you marked it tells you. A button frees the space of windows you already marked, and a damaged file no longer stops the tuning.
If SemSync does not know the genre of a night, you now tell it inside Training with a menu, and the windows move to the right genre at once. Windows with a picture are picked first, and when a camera is missing the label says no picture.
A new section to teach SemSync where you hear the drop and where you cut, genre by genre. SemSync picks twenty 40-second windows from your sets, you mark them by ear with a precision lens, and the program tries a tuning on your marks: you see it before and after, apply it only if it convinces you, and go back to the previous one with a button. Your marks stay on your computer. The montage preview, the codec check and the drone QR are also back in the package: with some versions they did not start.
Beats are tighter and the drop is found where you hear it: the cut on the drop lands on the bass attack, sharp or swelling. For now it is on for tech house (beats and drops) and for house, techno and hard techno (beats); everything else works as before.
If you said you edit with DaVinci Resolve Studio, after the analysis you only see Build in Resolve: the other destinations sit behind a link.
If a computer of the night goes silent, its artists no longer stay "syncing" forever: the row says "computer 2 silent for N min", and goes back to normal as soon as the computer is back.
The drone has no audio, so before take-off film the phone showing the Drone slate page (QR on the board): SemSync reads the code and puts the drone in the right place. If a camera of the night films the slate too for a few seconds, the point is exact; otherwise it uses the mixer time.
In the line-up every artist has a DRONE button: a DRONE folder is made, it is not synced and does not slow the analysis, and in Resolve the drone has its own track, switched off in the ROUGH CUT, to use by hand. The other productions sit under one item, Productions. And in Colour PowerGrades really apply, to the whole timeline or camera by camera.
From the board you enter an artist and go in order: Cameras, Edit, Analysis, Colour, Deliverables, with Next and on the same project, always inside the long night.
On top: The project, The line-up, The board and Analysis; default edit, colour, deliverables and export come after. The rules say plainly when the Resolve timelines are built.
On the board you choose when the analysis starts (by itself or when you say so), how much power (Active or Gear 5) and whether Resolve is built by itself or when you press Open in Resolve. A paused artist no longer restarts by itself. And after the line-up, Create the folders takes you straight to the board.
Before, for jobs that started by themselves during the long night, it went nowhere: now it opens that artist's analysis and the button says whose it is.
When two builds started almost together (for example pressing Start several times), extra pieces landed in the ROUGH CUT on top of the same cuts on other tracks. Now only one build at a time, and at the end the program removes by itself any piece it did not place and says so in the log.
On the Mac, clicking a camera on an artist card opened the choose window at the bottom left where it could not be clicked: the folder is now picked in SemSync's own window, in the centre. Folders that SemSync opens in Finder also come to the front and to the centre of the screen.
The helper computer could only watch the board: now it has its own buttons (deliverables, big screen, pre-night check, right takes), the bar with The board and Analysis, and the Analysis section with its artists, the footage and the start, and Open in Resolve; one button shows the whole night.
The board's button column is back (it had disappeared), the code to add a computer copies with one click, and every screen has the steps bar on top: The project (name, disk, invite computers and collaborators), The line-up, The edit, Colour, Deliverables, Export, The board and Analysis. The Next button always stays in view. New Analysis section: every artist on one page, with cameras, where the analysis is and Open in Resolve; each artist's detail opens inside the night, with Amnesia's colours and logo.
Every artist with the analysis ready has two buttons. Analysis opens the same screen as the multicam night (the director at a glance, the syncs, the numbers), with the way back to the night and arrows to move to the next artist. Open in Resolve builds that artist's SYNC MAP and ROUGH CUT in a single Resolve project for the whole night: the right take is orange and the hand is pink. At the top of the board there is Open the whole night in Resolve.
The long night now also opens with a Lifetime licence: whoever has the Lifetime has full access to every feature, with no need for the Enterprise.
Choosing a folder or a file no longer opens the system window (which appeared bottom left, under the Dock, and could not be moved): a SemSync window opens in the centre, with shortcuts (Home, Desktop, Downloads, the drives). Double-click opens a folder, Esc closes.
Before, it appeared behind SemSync, bottom left, with its title bar covered, and could not be moved.
The long night only opens with an Enterprise licence: the Check before the night now flags it and says what to do (paste the Enterprise code in ACCOUNT), and the closed door says so too.
The night invite and the report no longer get lost: Gmail's compose window opens in the browser, already filled in, with your Google account; you just press Send. Before, the computer's mail program opened, which does nothing if it is not set up.
When the operator, after the good take, films their own hand (a clip of 3 seconds at most), SemSync recognises it without you doing anything: the hand stays out of the edit and in Resolve the right take turns orange and the hand pink, so you see at once what to refine. You switch it on and off in the night's editing (The operator's hand, on by default); the Mark the right takes button stays for timelines already built.
The long night now starts in the Amnesia colours (yellow and black, with the mark); before, the theme was there but switched off and hidden in the Session step. And a computer joining a night gets the same colours as computer 1.
Among the board buttons, Check before the night looks at this computer and tells what is fine and what is not: the version, the licence, the graphics card, the memory, Resolve, the prepared night, the drive (it must be an SSD), the network and the remote control, with what to do for each point. Use it on every computer of the night, PC and Mac.
For each artist, next to the cameras, there is a no choice: no main camera, and it is saved with the night. With no main camera the multicam take a minute and a half around every drop.
Before shooting, the line-up tells you whether the engine keeps up: when the last set is out, how many fall more than an hour behind and how many computers you need, at the measured pace and a cautious one. The Main artist mark is saved with the night (it used to get lost) and shows on the board. The Amnesia design is more its own: logo band, stages, deliveries in yellow.
Tried on the live site with two accounts: a command reaches the venue's computer in about a second, even while someone is watching the night.
In ACCOUNT the venue turns it on (it is off by default), chooses how far it can go (watch, director, all) and, to let someone in, makes an eight-digit code to read out loud. From another network, on semsync.app/remoto, whoever has the code sees the night (who is ready, who is to redo, the drives) and runs a few commands; every command is logged, and the venue can remove everyone or switch it off with one button. The footage never leaves the computer.
In the line-up step you can paste the line-up copied from a sheet: times, stages, cameras per stage, and the key sets marked with an asterisk. Pick the night's colours (SemSync, or yellow and black) and they apply to every screen. Among the board buttons there is Mark the right takes: when an operator ends a take by filming their own hand (a clip of 3 seconds at most), SemSync colours the clip before it in Resolve, the right one to refine, and the hand another colour, touching nothing else.
If the program closes while a set is being cut, on reopening SemSync takes that job back instead of starting it a second time. If the drive is almost full the queue waits and says so on the board, instead of marking artists to redo: once there is space it restarts by itself. A card that does not fit on the drive tells you before the copy starts. And while the night is working the computer does not go to sleep.
Six new sounds, chosen with care, tell you by ear what just happened: a job is ready, sync is locked, the folders are made, an SSD is connected, a drop clip is ready and the night is complete. At four in the morning you do not need to look at the screen. They switch off in Account, together with all the other sounds.
After the analysis you can watch the edit in the app, with its timeline, and change the camera of a cut with one button: SemSync remembers what you fix. In the line-up step you pick the brand, camera and format (Sony, Canon, Panasonic Lumix, Nikon, Blackmagic, Fujifilm: 37 models, with sources) and SemSync works out how many terabytes the night needs, from each artist's hours and cameras. Add your SSDs with their labels: it tells you which one each artist goes on and when to swap a drive. The main artist gets a backup copy on another SSD. A night prepared on Windows opens on the Mac too, and formats are chosen artist by artist.
In the Export step each artist has their own card: set formats, drop clips (seconds and how many), the multicam with its camera, and a button that brings everyone back to the night's choices. Whoever arrives later goes on hold and the engine skips them until you switch them back on. The night's engine is yours to pick (Sleep, Active or Gear 5), and the licence is accepted once only.
For each artist you choose what comes out: the full set, the drop clips (the pre-drop and the drop, 10, 15 or 20 seconds or as long as you like, and as many as you like) and the drop multicams, which last as long as the main camera or a minute and a half without one; two drops close together become a single multicam. Everything comes out in folders by delivery and by format (SET INTERO, CLIP DROP and MULTICAM, each with ORIZZONTALE and VERTICALE). On first launch there is the licence to accept: trademark and patent filed on 18 September 2026, all rights reserved.
On a two-hour set SemSync checked the job the wrong way, stopped it halfway and started again from scratch. Now it sees the job moving, every finished piece stays saved and a restart picks up where it left off; the log tells you how far along it is and how many minutes are left. If the graphics card stops answering, the processor does the rest.
As soon as you type the name it is born in Documents, SemSync, Projects, and it saves itself: going back or closing no longer resets anything. The left menu shows the open project, with Autosave on and its switch; Ctrl+S saves whenever you want. The long night starts from the session: the name, the code for the other computers and the invite by email. Colour is chosen artist by artist, with the LUT and PowerGrade of each camera in their set, and matching evens out the cameras in three levels: gentle, balanced, strong.
The line-up comes first: the camera rig with its names (Front of house, DJ, Mobile...) and each artist with their cameras and their main camera; the folders are born from there, one per artist with only their cameras. Then the edit with the styles in a grid, colour with a LUT per camera and PowerGrades, deliverables format by format and the export. And a new opening animation, with sound, that plays the first time and after every update.
The Enterprise package switches on with its code, and if your account has one the program moves to it on its own. In the line-up you write "Anna b2b Marco" and the back to back is one set with the same QR for both. The night has the festival's email: the day after, Send the report opens the email already written with the night's numbers and the report to attach. And semsync.app has the Festival page, on quote.
The board is a control room: the next delivery large with the numbers beside it, the night hour by hour always in view, a card per artist with its path (copying, analysing, cutting, rendering, delivered) and what came out, and on the right the machine, the computers, what to do now and the night's buttons. Setting up takes four steps: the night, the cameras, the edit, the line-up. The artist's phone page is a ticket: the name large, one button for the set with the formats by name, the drop clip, the single clips in a grid. And the venue logo in the videos: a PNG chosen in the night, bottom right at the start and end of every set and clip. And the card comes in from the board: Copy from the card into CAM1, CAM2, CAM3, with every file verified, an interrupted copy resumed, and a warning if that card was already taken. And the directing style chooser is redone: a list on the left with the rhythm drawn, on the right the chosen style with the numbers measured on published sets (cuts per minute, bars on the drop, handheld camera, the rhythm phase by phase).
For every artist in the line-up you choose what to make: the whole set, or only the multicams where the handheld cameras shot (the night's main cameras, for example CAM3): five handheld clips, five videos, each with its number, and the artist's phone offers them all. And the night has its own edit settings: the same controls as the Direction step (eye, crowd, energy changes, movement, max clip, hold) and the engine switches, for every artist. The night delivers three things, in the formats you tick (9:16, long set 16:9, 4:5, 1:1): the multicam, the long set and the single clips (one camera only, 5-8 seconds, after each artist's set, cropped on the subject).
A directing style is a client's grammar on top of the multicam edit: which cameras are the base and which the emotion, how long a shot holds in the wait and on the drop, never two wides in a row, the wide only with a full dance floor, the DJ when reacting to the crowd, the LED wall left out when burnt, cuts on the handheld's passes to black. You pick it with a card in the Directing step (multicam) or in the night's form, and it applies to every artist. With a style you also get 5-8 second clean clips for teasers and ads, eight verticals half on drops and half on build-ups and crowd, a one-minute recap with no effects and the client's look. And the full set comes out in 16:9 too, uncropped, for YouTube: in the night you choose vertical, horizontal or both. Six styles come ready, measured on published DJ sets: Big stage schranz, Stage techno, Festival tech house and House (each genre picks its own by itself), plus Secret Rave and Boiler Room.
From the board pick a set and press on 2 computers: computer 1 does the first half, another computer with the same cards does the second and sends it over the venue network, then computer 1 joins the two halves and delivers. The ninety-minute closing comes out in half the time. If the other computer disappears, after half an hour computer 1 finishes on its own.
Every computer that joins with the code gets a number and keeps it; computer 1's board brings everyone together and says, for each one, whether it is connected, what it is doing (analysing X, rendering Y's vertical) and how many sets it has delivered. The Share out between computers button divides the artists still to come: one stage per computer, or in turns. Each artist's pill cycles through the computers with a tap.
Computer 1 sets up the night with "Two computers" on and gets a code; computer 2 joins from its own Festival screen with the address and the code, and the night is born on its drive, with the same QRs and the same look. One rule: every artist lives where you copy their cards. The board tells you which computer to copy each one to (one stage per computer, or every other one) and you change it with a tap until the cards arrive. Only the board travels between the two computers, every ten seconds, over the venue network: the footage never moves. Computer 1's board shows both, says how computer 2 is doing and whether it has gone quiet; the artist always scans computer 1's QR, and if their file is on the other one the phone gets there by itself. The report says which computer each set came out of.
In the job folder there is the
The look on a frame of your own night and your PowerGrades, inside SemSync and inside Resolve; the Festival is for venues with long line-ups. The board now tells you when each artist will be ready, measuring tonight's speed on the sets already delivered; it draws the night hour by hour, one stage per row; it tells you what each camera's footage is and whether the graphics card or the processor decodes it better, by trying it on the files; and it counts the drives in hours of party. Every artist gets a QR: they scan it at the end of the set and download their video from the venue network, with no PIN and no cloud. There is a big-screen mode for the wall behind the stage. The Festival is part of the Enterprise package.
The test set was fifteen minutes long and everything looked fine; on a real seventy-seven minute night with three cameras seven faults came out, and they are gone now. If you have no mixer, SemSync picks which camera carries the sound by itself, and it picks the one that filmed the most: before it just stopped, and if you picked the wrong camera the video came out silent for three quarters without telling you. The file it hands you is now measured: if it does not last as long as the edit, it says so loudly instead of letting you find out at home. And if the computer has a graphics card, the vertical uses it: a whole seventy-seven minute set is ready in half an hour instead of an hour and a half, with exactly the same cuts.
If DaVinci Resolve is closed, or open and frozen, SemSync no longer waits for it: it skips that step, writes it in the log and moves on to the next job. It used to sit there for half an hour or more, and on a night with a queue of artists that meant delivering nothing at all. The app now also watches the job in its hands: if the folder disappears, because you unplugged the drive for instance, or the job stops showing signs of life, it closes it by itself and moves to the next one. The night board tells the truth even when nothing is happening: whoever has finished copying and is waiting for their turn is now in the queue, and if a camera is missing it says so. And the status window no longer hangs when Resolve does not answer.
To decide how to crop each cut it used to look at two frames of every one: on a long set that is hours of machine time. But cameras on tripods do not move, and the app was already measuring it: now it notices, uses the crop it already worked out for those, and only looks at the camera that really moves. Measured on a fifteen minute set: from twelve minutes down to three. The cut and the compression are exactly the same as before, and the old way is still there if you want it.
There is a new door, The long night: inside you write the line-up once, with each artist's time and genre, and SemSync prepares a folder for each of them. Then there is the board: one row per artist, where the job is and how long is left, and at the top how many sets you delivered, how many are being made, how many need redoing and how much drive is left, told in hours of party. It refreshes itself and asks you nothing: what moves the queue lives inside the app and keeps going even if you close the window. On a phone the rows become cards, so you can read it from the floor.
Write the line-up once, with each artist's time and genre, and it prepares a folder for each one, already watching itself: your only job is copying the cards into the right folder. From there it syncs, edits, cuts the whole set to vertical with your own colour and drops it in the deliveries, one after another, while the party goes on. If one artist breaks, the queue does not stop: it moves to the next and marks that one to redo. And disk space is now told in hours of party, not gigabytes. Also fixed something old and nasty: when two parts of the app saved settings at the same moment they could wipe each other's.
Schranz sits at full throttle all the time, so the hard techno thresholds never worked on it: now it has its own, and it is in the list like every other genre. Vertical used to pick the best moments only; now it can also give you the entire set cut to 9:16, first minute to last. If one of your cameras is handheld it works that out by itself, by looking at how much the framing moves, and for that camera it picks the crop moment by moment instead of trusting where it usually sits. And you can hand it your own .cube colour file: it lays it on every piece, so what you deliver already has your look.
The job used to start anyway and die a second later, and nobody could tell why. Now the app checks the licence first and writes one line with what is going on and what to do: the code to enter, the renewal, the computer to release, or just a moment online if you have been offline too long. If the check itself fails, the job starts as always: it never stops you.
Updating used to be a button inside ACCOUNT, and an editor opens the app to edit, not to update it: people worked for weeks on an old version and ran into bugs that were already fixed. Now the app checks on its own, downloads the new version whenever it likes and installs it when you have no job running and have not touched anything for fifteen minutes. It never stops you and never asks. And when a job dies we now know the exact spot it broke at, without asking you for the log: the code file, the function and the line travel, never your folders and never your file names.
When you finish editing in Resolve, the app notices on its own and reads your timeline back: which cuts you kept, which you threw away, how far you moved them and how long they really last in your hands. From then on the proposals for that genre start closer to the way you edit: where the cut lands and how long a cut lasts. It asks nothing, stops nothing, never looks at your video or your file names, and if you pick a value yourself yours always wins.
With Max clip on Automatic the edit could hold the same camera for twelve seconds: now Automatic means six seconds at most, and when another camera covers that moment it cuts. If you type a number, your number wins, as before. When only one camera is rolling the clip stays whole: no fake cuts on the same image. Nothing changes for talking heads.
If you tap another job by mistake and come back you find your project again, on the step where you left it, and if you had not saved yet you also find what you had typed. The green border of the chosen tile shows in full on hover too. In Account the SemSync learns numbers fill the row, with no empty boxes.
On a computer your jobs live in a bar on the left, always at hand: one tap opens a project of that kind, and the one you are in stays lit. The entrance is a clean grid with Multicam night first. At the top of every step you read the job name and the six numbered steps, with a tick on the finished ones. The analysis numbers are large and thin, like on an instrument. The SemSync mark replaces the three lines at the top. In the Engine step Gear 5 has its own card: red, with a giant 5, and it says in three lines what it does, every core, several takes at once, a six-hour night in 11 minutes on our bench. On the phone and inside Premiere the header stays at the top as before.
Instrument black, thin lines, one typeface with its monospace for the numbers, small corners, no glass and no gradients: easier to read in daylight and in a dark control room, and the light theme stays. The typeface ships inside the program, so the face is the same with no internet. Everything is where it was: colours and shapes change, the steps do not. More security: the program now answers only to its own page on this computer, and no site open in the browser can talk to it; the storyboard is read only from text files; on the phone the PIN cannot be guessed by trying, after five mistakes you wait five minutes. The site was tightened too: code recovery, emails and payments.
A beta tester travelling with a Mac was told the license was active on another computer, with only one computer registered: SemSync also recognised the computer by its network name, and on a Mac that name changes when you switch Wi-Fi. Now the computer is recognised by the machine alone, on any network, hotel or hotspot; if you are already activated you do nothing, and anyone who got stuck is unlocked automatically the first time the app opens with internet. Updates are now visible: when a version is out a banner shows at the top of every screen, with a single button, Update and restart: it downloads, installs and restarts with no more clicks, and if a job is running it waits for it to finish. In Account, updates are the first and largest block. In Account there is the support door: you open it, for thirty minutes at most, and the automatic assistant checks license, tools, log errors, the job report camera by camera, format and audio of your footage, memory and disk, then tells you what it found and what to do; you see every action written down, heavy ones (opening Resolve, redoing the edit or the analysis, updating, restarting) run only with your yes, and never your videos or file names. When a job stops, the red box has a Let the assistant fix it button. Send the log to support now starts with a diagnosis of the program and the license (never your footage). In Only Multicam the audio of every main camera always stays on its own channel.
Seventeen test suites and a real run on an eighteen-take night without a mixer, all green; then a fresh-eyes review of the new code found twelve weak spots and eleven are fixed: the Only Multicam choice and the main cameras are saved in the project (so the self-watching folder edits as decided), the windows now apply to Premiere and Final Cut exports too, a clip recovered by the other cameras lands on its own camera track, camera names with spaces pass, Redo the edit no longer forgets Only Multicam, and without a mixer the engine knows on its own which camera is the reference. Analysis is much faster with identical results: listening to the night reads the audio in blocks (track changes from 226 to 48 seconds), each take is read once instead of fifteen times, and a 2 hour 45 night with 23 takes goes from 9 to 3 minutes of analysis, with the exact same sync to the millisecond.
Without a mixer there is no empty dropdown any more: the camera choice appears after Save, already filled. In multicam, instead of the style, you pick Only Multicam (the edit happens only where a main camera is in sync, elsewhere the timeline stays as it is) or Full Set; you tick the main cameras and they stay in the project. And there is a new step, Engine: how much power to give SemSync (Sleep mode to go to bed, Active mode to keep working meanwhile, Gear 5 to take the whole computer: takes are synced several at a time) and what to make it do tonight (second opinion and camera consensus, key of the tracks, the doctor). And the eye, once it has looked at the night, takes part in choosing the camera: a camera that is dark, washed out or shaky at that moment does not go on air if there is another one. In the Engine step you see how long the last analysis of that folder really took. Every choice has its own pop-up, with the measured technical data of the three power modes (RAM and cores), and while the analysis runs you see the RAM and CPU graph of the computer and the engine.
On a night of almost four hours the job ended after 43 minutes with an error while saving the plan (a number in a format the file does not accept, on a clip re-measured inside a repeating section). Now the plan always saves, and if the new sync parts stumble they step aside for the usual method instead of stopping everything.
If a job was stopped while saving, the night's plan could be left half written and the next Start crashed with an error. Now the plan is written whole or not at all, and if a broken one is found it is set aside, noted in the log, and the analysis is redone from scratch.
A drop is now a jump that opens a section, not just any hit: on a night of almost five hours the drops go from 568 to 214, one every minute or so instead of one every 25 seconds, and the edit stops exploding all the time. Only the markers that matter go into Resolve (drops, crowd, changes, tracks, phrases): the beat-by-beat ones are optional, and writing the timeline drops from almost six minutes to under one. Sync is faster too: SemSync builds a map of the whole night once and every take finds its place in a flash, with the same precision as before (on a six-hour night a take goes from 16 to 5 seconds). On long nights, over an hour and a half, every take finally gets a second opinion: before, sync there trusted a single proof. Takes locked with a single proof are also checked against the fixed cameras already in place: if a camera sees them at the same point, they are confirmed. And the eye no longer waits for you to call it: once the edit is done it looks at the cameras behind the scenes and redoes the direction, dropping dark, washed-out or shaky images. The copyable log is back: the Log button opens a notepad with the whole log, growing while the job runs without losing your selection. And the camera chosen for the drop can be cleared with a second click.
The edit is a form to fill in, like on CapCut, but SemSync's eye fills it. A Style says, phase by phase, which scene goes there, how many bars each shot lasts, whether it is slow, whether the cut has a flash or a whoosh; then the look (grade, grain, bars, light leak, title) and the sounds (riser before the drop, impact, whoosh). Eight styles of ours: Warm light, The story, Trailer, Classic for weddings; Mainstage, Night, Documentary, Teaser for aftermovies. Everything travels inside the XML, no plugins, the same in Resolve and Premiere. The thing CapCut does not have: drop the XML of your best highlight and it becomes your Style, for good. And the aftermovie: the music is the mixer around the strongest drop of the night, on the drop the shots are the synced ones, the crowd really jumps.
Once the sync is done, SemSync says what kind of night it was (the mixer and the cameras, one continuous camera, roaming operators with no fixed camera) and picks the right strategy: with two roaming operators the multicam edit is built only where you both filmed, the other clips stay in a row, whole. Then it checks the job like an editor would: two clips of the same camera on top of each other, a clip out of shooting order, a clip far from where the camera clock puts it, cuts of a few frames, jumps back and forth between two cameras touching for an instant. What is certain it fixes on its own, the rest it shows you in The job check-up block, with a marker in Resolve on every point. You can ask the job why it made a choice (why this clip is here, why this cut, why a camera is missing): the answer comes from the numbers of the job, offline too. And if something is still off, Send the case: the numbers, the log and the report go out, never the footage, with the paths of your computer hidden, and you see what goes first. If you want, cases go out on their own.
SemSync copies your cards to two places, checks file by file that the copies match, and tells you when you can format them. Then it reads the card dump, recognises every camera, drone, phone and recorder, and warns you if a card is missing a file, if a file is broken or if a clip was copied twice. It splits the day into moments, getting ready, ceremony, couple session, dinner and party, with the reason for each suggestion: you confirm with a tick. And then it edits: choose the style and the songs, and SemSync makes the film, the highlight and the social cut on the beats of the music, with the I do, the rings and the vows in the right place, the full ceremony from several cameras with the microphones' sound, colour that protects skin tones, clean voices at the same level, subtitles in English too, chapters and a version without music. Over fifty parameters, all adjustable, and studio presets to start the next wedding the same way. Everything comes out tidy in folders in DaVinci Resolve or Premiere Pro, and your drive is not touched.
Besides 2, 3, 4, 5, 6 and 8 seconds there are 10, 12, 15, 20, 30 and 45 seconds and 1 minute. And in the ROUGH CUT a piece that starts right where the camera file begins no longer lags two frames behind the sound.
If the camera split the night into several files, SemSync lines them up with their clock and the other cameras lock across the whole night; every camera's clock acts as a cross-check, and a clip with no lock is placed by the clock instead of being left out. And the edit no longer cuts on the same clip at the drop: if you chose the drop camera, the piece before goes to another camera, and if it was already on air the piece continues.
Disco, jungle, afrobeat, breakbeat, melodic techno and afro house had a few dozen measured tracks, now they have hundreds: the genre suggestion on your night is more accurate.
It locks even clips of a second and a half, fixed cameras drifting for hours stay within a millisecond, a cable with flipped polarity does not fool it, and when a clip sits inside a part that repeats (a loop, the same track played twice) it picks the right spot or tells you to check it, never sure about the wrong one.
Before, with Resolve closed while SemSync was open, the page waited for minutes: now it says Resolve is not answering and reconnects on its own when you open it again.
In long breakdowns and kickless intros a single minutes long piece on one camera was left: now it cuts at half tempo, slowly but it cuts.
SemSync looks at every camera and says what it frames: wide, on the DJ, on the crowd, handheld, drone. The edit uses it instead of folder names: the wide on the drop, handheld cameras among the mobile ones, and the DJ camera on the drop if you did not choose. In the edit a menu per camera to fix it, and the Look at the cameras button.
In the analysis write who played and from when (hours:minutes from the start of the night) and press Split the night: the edit already made splits into one set per dj, without redoing it. For every set a Premiere and Resolve file starting from zero with the dj name on top, a Resolve timeline, and its own report. A hand written time snaps to the nearest track change.
In the analysis you see every stretch the edit keeps off air, camera by camera: too dark, washed out by smoke, out of focus, a moving camera, with the frame and the seconds. If you disagree press Readmit and then Redo the edit. Shots left out of the sync show their reason too.
Instead of the clip, the SemSync logo drawing itself: the audio bars gather into the ring, the wave writes itself, the name comes in and the dot orbits, with the chime. It fits phone and computer, and can be turned off in ACCOUNT.
From the couch, on your home network, open the address shown in the analysis with the PIN: see the run of cuts with a frame for each and the mixer audio, touch the strip, give the twenty-second vote and approve the edit. The SemSync clip plays when you open the app, and a chime rings when a job finishes: both can be turned off in ACCOUNT.
In What you edit, below your projects, every edited night stays with its numbers: cuts, drops, drift at the end of the night, machine minutes, clips made. Find them by venue, by DJ or by searching a date, and open the report, the clips or the project from there.
In the project choose the shared folder (Drive or OneDrive on the PC work fine) and turn on Then shut the computer down: when the work is done SemSync puts the report, the plan, the timeline and the timings there, never the footage, and then shuts down. If the folder cannot be used it tells you and the computer stays on. With Automatic start the night works on its own from start to finish.
In ACCOUNT set your name and logo: from then on every night report carries them at the top, with the venue and date, the numbers that matter (cuts, drops, drift at the end of the night, machine minutes) and the highlights with a frame. At the bottom it says made with SemSync.
In the project switch on Automatic start: as soon as you finish copying the footage into the folder, the analysis starts with no click, and a line in the analysis tells you where it is at (copy in progress, started, done). Go to sleep, the night works.
On the analysis strip, zoomed in, a filmstrip appears below: one frame per cut with the camera image. Click and pick another camera, among those that cover that moment.
In the direction screen press Compare two styles: SemSync stacks the current edit and another style one over the other, with how many cuts each makes, and you keep the one you like.
On the analysis strip every fix you made becomes a yellow mark: where you moved a cut or changed camera. Hover over it and SemSync reminds you what you changed, and how many fixes you made on this night.
On the analysis strip, zoomed in, grab the edge of a clip and drag it: the cut moves to the frame, one clip shortens and the other grows. SemSync learns from your move, then just Redo the edit.
Put the venue name in the project, and the second night at the same place starts already set up like last time: same style, same knobs. SemSync tells you under the style.
You connect Claude to SemSync and ask where the night is at, how many cuts it made, how well the sync held, what the log says, what is queued. Read only: Claude looks, it changes nothing. In ACCOUNT there is a Connect Claude button with the command to paste.
Every analysis measures by itself how long each step takes (mixer, sources, beats, listening, plan) and writes it in the plan and in the log; under the results a line says minutes and seconds per phase and the total. A measured number instead of a feeling.
Under the knobs sits the same strip as in the analysis, and at every touch the cuts are redone by the engine in a flash (on a three-hour night, under a tenth of a second), before redoing the edit: the line says how many cuts come out and how often, and how many the current plan has. The Redo the edit button now uses the knobs as they are now (before it re-planned with the analysis numbers). And under every knob a line says who set that number: the style, the knowledge, your vote, last time, or you.
On top the real mixer waveform, drops are flags, cuts are coloured by camera. Wheel to zoom down to the single frame, the mouse tells time, drop, camera on air and how long it holds, a click plays eight seconds from there, arrows jump drop to drop. And zoomed in, a crooked flag can be dragged onto the hit: SemSync moves it and learns.
Work surfaces are translucent glass panes, buttons are pills with light, switches slide, fields light up. Every slider in the direction screens is a knob: the big number, the box to type it, the track that fills. And the drop flag refined to the millisecond: the hit's attack is measured in 5 ms steps, and a precision bench checks it on every night.
The editor who edits like you: from your finished timelines SemSync learns which camera you put at every moment of the night, and from the third job it chooses like you where it used to take turns. The timeline is re-read without asking when you open the delivery. The twenty-second vote: three answers (cuts, framing, subject) and the next direction starts from there. In every direction you see what it has learned: how many lessons, from how many people, and how much yours weigh. And the Studio theme: light outside, dark while you work.
In sport the direction speaks of the wide shot in play, the close-up at the whistle, the crowd at the roar and the replay after the point, with the rhythm in seconds; in a conference of who is speaking, slides, applause and question and answer (on the question the room, on the answer the speaker). Beats, crowd and energy changes stay with music. The sport project asks for the sport and the competition, and the cameras are called wide, side A, side B, crowd. In the highlights the replay starts from the scorer's side. The music video asks for artist and song, and the hold is on the chorus.
In ACCOUNT type your email, a six-digit code arrives, and SemSync attaches this computer to your licence by itself. Inside you see all your licences, the attached computers (and release them from here), card and invoices, and how much SemSync has learned from you. The licence code stays as a fallback. The site signs you in the same way.
After every big point the action is shown again from the other camera, at half speed, with the REPLAY label: like on TV. One tick turns it off if you do not want it.
A printable page with the numbers (how long it lasted, the roars, the whistles, the replays), the big moments with who was there, how long each athlete is on video with their clips, the highlights and the delivered files. Do everything in sport now takes three steps: analysis, highlights, report.
From the big moments of the match come the photos of whoever was in frame; name two or three, and the other moments take the right name by themselves (unsure ones stay marked, so you confirm them). Then the clips per athlete: each one's video with their moments and the best vertical with the name on it.
Plan, name, email, how many computers, how many days: the code is born, lands in the database and goes out by email as for a buyer; if the email does not go out it stays on screen to copy.
A new door with three jobs: the match, the athlete, the event. SemSync listens to the field (the referee's whistle, the crowd's roar), edits the match with TV direction (wide in play, close-up at the whistle, crowd on the roar) in three paces measured on real directors, and at the end of the match makes the highlights by itself in a few minutes with vertical clips of the best moments. In LIVE there are the REPLAY button (the last seconds in slow motion, then back on air) and the HIGHLIGHT button: every moment marked live goes into the highlights.
A testimonial, a keynote with one speaker: the engine used to wait for a change of speaker that never came, and the edit, the named talk, the clip and the report stayed out. Now the direction breathes on the pauses, the talk is there with its name, and the whole chain (look, edit, subtitles and rundown, clips, report) is proven on a real-voice session in 40 seconds. The Creator has the Open the clips button.
With the recognised speech, along with the reels come the rundown (the best in three minutes, the top clip, the questions), the best as a ready video and the top clip vertical with your name on it; and every reel carries the channel name in the first seconds, at the top, where subtitles do not sit. All in the CREATOR folder.
The crop no longer sits fixed in the centre: SemSync looks at the frame, finds the face and keeps the cut on it; with no face it reads the composition (symmetric, an off-centre subject, a wide scene kept whole with a blurred background), as in the club clips. And in the Creator the reels are no longer picked from the loud voice alone: with the recognised speech what is said counts too, the recurring words and the questions.
One clip per speaker, vertical for social, with name and role written on it, cut like the timeline (the right camera at the right moment) and with the good audio underneath; and the best of the day as a 16:9 video. Pick the format, press Make the clips, and find them in SERATA_OUTPUT\\CLIP. Do everything for a conference includes this step too.
From the recognised words SemSync writes the rundown: the best of the day in ten minutes, picked from the strong sentences (recurring words, the applause after, the questions, who opens and who closes) and put back in time order without biting a word; one clip per speaker under 45 seconds, with name and role ready for the lower third; the audience's questions. And in the delivery you find Do everything: your branch's recipe in one line and a button that runs the steps one after another, with the progress bar, and if one stops it tells you which.
No form to fill in: pick the folder, press Look, and SemSync tells you what it understood in one sentence: how many cameras and what each one frames (whole room, speaker, slides, audience), how many talks and voices, the applauses, the slide changes, and what job it looks like. If it got a camera wrong, tap it and change it. Then put the names on the faces: one row per voice heard, with the speaker's face next to it. Confirm, and the project is born in the folder itself.
Pick conference, podcast or corporate with a card, write who speaks, and the edit arrives with names: chapters carry people's names and every talk has a marker with the name in the timeline, ready for the lower third. In a conference, with a camera on the screen, the cut goes to the new slide as soon as it changes. In a podcast the episode comes out clean, no silences or fillers, cameras on the voice, subtitles, chapters, notes and clips for social. In corporate the interview keeps only the answers. And for the client there is the report of the day, with programme, times and lengths.
The first screen shows a real night behind and the app at work in front, in a glass frame that follows the mouse; one button, Free 14-day trial; and right below, the four measured numbers. Cards and buttons are made of glass and respond to your hand, blocks come into focus. If you asked your system for less motion, you see no effect at all.
At the top you find the footage: the big numbers (takes, drops, clips kept, minutes), the clips one after the other with the mark where every drop falls, and the mixer waveform. Below, the mixer audio and a single button, saying where the edit ends up. Clip and timeline settings are all there, behind a button. It is the first door with the new face: the others follow.
You used to find out that SemSync does not work without a code only when pressing START, after filling everything in. Now, right after "What do you edit with?", if you have no licence there is the code screen: paste it, or type your email and the 14-day trial arrives within a minute, no card. You can put it off, and it will not ask again: it stays in ACCOUNT as before. And the project asks only for name and genre: event, artist, venue and club sit behind a button, and open by themselves when a project already has them.
Resolve Studio, Premiere Pro, or the timeline file for free Resolve, Final Cut and the others. It proposes on its own what it finds on your computer, and everything follows from that answer: up top it no longer talks about Resolve if you do not have it, in Deliver your way comes first, and Club Clips already know where to go. You can put it off, and change your mind from ACCOUNT with one tap. Inside the Premiere panel it asks nothing: the answer is obvious.
If you edit in Premiere and never installed Resolve, this door used to fail and ask you to open a program you do not have. Now the button says Build for Premiere, the job writes the timeline file with the clips already cut on the drop, and inside the Premiere panel it puts it into the open project by itself, like the multicam night does. Up top, when Resolve is not there, the app says so plainly: not installed, no longer "not connected". Colour and export stay Resolve Studio things, as written on the site.
The site sends you four different emails: your code, a lost code, the link to your account area, and your affiliate link. If the mail service had a problem, three of those vanished in silence: you read "check your inbox" and nothing arrived. Now every email that fails leaves a line with your address and the reason, so we send your code by hand before you have to write to us. And the contact form no longer accepts an empty message, and when something goes wrong it tells you what to do.
The icon was written in every page of the site but the file did not exist, so you saw the browser's blank sheet: now it is the app's own icon, and on the phone the one for the home screen too. In the account, inside the program, your subscription no longer shows only the expiry date: when it is close it says so in amber, 6 days left, and if it ends tonight it tells you.
Anyone opening the link that arrives by email saw the sign-in form and nothing else: the page code never started, because of a quote eaten while the site was being built. Same on the bring-a-friend panel. Now the code of every page is compiled before we publish, and the area is opened in a real browser during the checks. Inside the area there are three new things too: a trial that is running out says how many days are left and lets you buy right there, an expired licence says so and lets you take it back, and under your licences you find the download button plus the three steps to activate your code.
It used to sit almost a thousand pixels down the page, fourth row between the format and the fps: it was there, but anyone looking for it did not find it. Now it is the first block of the Clips step, on the computer and on the phone, and it tells you what happens either way: leave it empty and the clips keep the camera audio, crowd and boom; set it and it goes under every clip, lined up on the right spot. The scene audio row only shows up when there is a mixer.
Yesterday's versions switched on a registry entry to make it open: I tested it and it was not needed, because the panel is now signed and that is enough for Premiere. The install now copies a folder and writes a file, and nothing else. If you installed the panel yesterday that entry stays on: I do not switch it off for you, because it also covers other programs' panels and you may have switched it on yourself.
In Deliver, Premiere is now the first row instead of the fourth: you used to scroll past three destinations you do not need at that moment. The line telling you what will happen no longer sends you to look at Resolve while you are working in Premiere. And the badge up top now shows just the name of the Premiere project you have open, so the panel's header takes two rows instead of three and you get more room to work.
In yesterday's version Premiere put SemSync in the menu but pressing it did nothing: the panel was not signed, and Premiere 25 and up will not open one without a signature. The panel is now signed and the installer puts that one in. If you already pressed Put it inside Premiere and it would not open, press it again from ACCOUNT, then close Premiere and reopen it: you find it in Window > Extensions > SemSync.
If your Resolve project or your folders have an accent in them (Cocorico', Peru', any city name), Resolve was handing them to SemSync already broken: up top you saw a strange character instead of the accent, and more importantly clips could fail to match the files on disk, because the path arrived misspelled. SemSync now puts them back together the moment it receives them, both the names you read and the file paths. If your folders use plain English letters, nothing changes for you.
That door used to open the same screen as a multicam night, how many cameras, is there a mixer, is there a room mic, and then it laid out CAM1 and CAM2 folders in the project: none of which has anything to do with loose clips, where each clip lives on its own and carries its own drop. Now it only asks what it needs, and the folder is called the footage: you drop the shots in and go. The mixer, if you have one, is chosen where it always was, in the Clips step. The multicam night has not changed by one comma.
You open it from Window > Extensions and you get the whole of SemSync, not a cut-down version: pick the folder, run the analysis, look at the results, all without leaving Premiere. And the last step, the awkward one, changes: Deliver used to write a file and you had to do File > Import and go and find it; now the button says Send to Premiere and the sequences land inside the project you have open, in a SemSync bin of their own, with the ROUGH CUT already open on the timeline. You install the panel with one button: open SemSync, go to ACCOUNT and press Put it inside Premiere, then close Premiere and reopen it. The first time, Windows will say the panel is not signed: that is normal, the certificate is on its way.
SemSync runs on the Python you have, and if that one does not get along with your DaVinci Resolve the program would close on its own: INSTALLA.bat now tries it first, and tells you right away if it does not work. It also tells you SemSync still edits, going through Deliver, and before sending you off to download half a gigabyte it checks whether another Python on your computer already works and writes down which one. Windows installer users need do nothing: they have had the right Python since 8.24.0.
It happened a few seconds after you opened it, without saying anything, to anyone with DaVinci Resolve installed, which is everyone: the package carried a version of Python that does not get along with Resolve, and the moment SemSync asked Resolve how it was doing, everything closed. The package now carries the right version, tested against Resolve. And if it ever happens again with a different Resolve, SemSync no longer closes: it writes it on screen and tells you what to do. If this happened to you, download the installer again from semsync.app and install over the top: your projects and your code stay where they are. ZIP users were not affected, and INSTALLA.bat now checks by itself whether your Python talks to your Resolve and tells you right away.
At semsync.app/account you write your email and a link arrives: inside you find your licences, when they expire, which computers they are on, your invoices and the button to release a computer when you change machine. No password to remember and no password to have stolen: the link lasts half an hour and works once. If you bring friends, your numbers are in there too.
Anyone who downloaded the previous version found the night stopping at the first step. If it happened to you, update and start again: you lost nothing, the program had not touched your files yet.
Under the download button there is a form: write your name and email and within a minute you get a 14-day code, on everything, with no card. Before, you had to write to us and wait for someone to answer. And the line under the button still said you need Resolve Studio: that has not been true since 8.21.0, because with free Resolve, Premiere or Final Cut SemSync writes the timeline file.
In ACCOUNT there is a new card with the plan you have, when it expires and which computer it sits on, plus a button that opens the page where you change the card, download invoices and cancel whenever you want. Before, that page only came inside the code recovery email, so to change your card you had to pretend you had lost the code. Below it there is Bring a friend: you get 25% of every payment for the first 12 months and 10% on lifetime, whoever opens your link stays yours for 60 days even if they buy later, and your numbers arrive by email. And there are now three programs instead of one: SemSync, SemSync Creator (which opens only the doors for people making content) and SemSync LIVE, each with its own installer.
Before, when something would not go to the bin, you got forty identical lines saying OLE error 0x80270028, which means nothing to anyone. Now you get one line per reason, with how many files, three example names and what to do; and if a program is holding the file, SemSync asks Windows what that program is called and writes it down, so you know what to close. On top of that, Windows now has two ways to send something to the bin instead of one: if the first gets stuck it tries the second, and it usually goes through. To the bin, never a deletion. And the Final Cut Pro file is now inside the package you download: in 8.21.0 the Deliver row was there but the file was not.
In the Edit step the three rhythm numbers now have the names an editor uses: Intensity, Variety and Hold on the drop, three sliders that say what happens if you pull them one way or the other. They drive the same numbers as before, which stay under Exact numbers, and if you do not touch them the edit is identical to yesterday's. In the Sync results, above the edit strip, there is now the energy wave of the night: move the mouse and a playhead tells you the time and how loud the music was at that point, and you can see at a glance that the cuts land where the wave rises. With the wave come two new numbers: the breakdowns, the empty stretches before the hit, and the key of every track. The key is only written when it is certain: if a track has no clear one, SemSync does not invent it. And Deliver has a fourth row, Final Cut Pro, with a file of its own: Final Cut does not read the same file as Premiere, and now it has one made for it.
In Account, under updates, there is the history: one line per version with the headline of what changed, and a click opens it in full. They are all there, from the first to today, and you also find them on the site at semsync.app/novita. And updating is now two gestures: Install downloads the package and sets it aside without stopping anything, so you keep working; Restart is the only moment SemSync closes, and you choose it. If a job is running, Restart stays off and tells you which folder it is working on, so there is no way to lose work by accident. When there is something to install, a green dot appears on Account, up top.
In the Colour step the list lets you choose between SemSync's tables, your own and the ones in Resolve, but Resolve only applies the ones sitting in its own folder: picking any of the others ended with a warning telling you to go and install it. SemSync now handles it: if the table you picked is not inside Resolve, it copies it into the right folder, tells Resolve to refresh the list and puts it on the clips. If that folder will not take it, it tells you which path to open and what to do. The package also carries a luts folder, with a sheet explaining how to load tables by hand, in Resolve and in Premiere.
In the Sync results there is a new block, Deliver, with three destinations: Resolve Studio, which SemSync drives directly as it always has; Resolve including the free version; and Premiere Pro. For the last two SemSync writes an XML file containing SYNC MAP and ROUGH CUT, already aligned and with the zooms, and you open it from File > Import. The file is written in seconds from the analysis you already ran, it does not redo the work. Colour stays a Studio thing, because SemSync writes the LUTs and the camera match onto Resolve nodes and those do not fit in a file: it says so on the row before you press. On the first page, under the doors, there is the list of your projects read from the work folder: how many cameras, how many shots, which ones are already edited, and they reopen with one button. The Sync results also carry the track analysis: tempo, track changes, drops and build-ups. And the shot count now tells the truth: shots that did not lock used to vanish from the count, so it always read N out of N even when the folders held more; now the count is on what you put in, and underneath it says how many were left out, why, and what to do with them.
A double click could start the same analysis twice on the same folder: two engines on the machine, the computer choked, SemSync slow and Resolve no longer answering. Now the second one is told a job is already running, and that holds for every button that starts something. And when Resolve does not answer, SemSync checks how it actually is before telling you what to do: closed, open but not listening, or accepting the connection and not answering because it is busy or locked up. Before, it sent you to check the preferences even when the preferences were right.
The 'Sync with the audio of' box sat open and empty even when the camera folders did not exist yet: it is now switched off until there is a camera with footage in it, and the missing step is written underneath. And when Resolve is open but sitting on the Project Manager window, SemSync now recognises it and tells you the right thing: open any project, even an empty one, and press again. Resolve only accepts commands once a project is open, and nothing outside it can open one. You do not even have to press again: while the panel is red SemSync keeps looking, and the moment you open the project it turns green.
With the interface in English they read scuro and bruciato, in Italian, in the middle of an English sentence. They now read dark and blown.
With the interface in English the camera picked as the reference came out reading RIFERIMENTO in the middle of a column of OKs. It now reads REFERENCE, and it is no longer coloured red like the failed sources: it is not an error, it is the camera everything else locks onto.
The Color step list only looked in the Resolve folders, so anyone keeping their tables on the graphics drive could not see them. SemSync now looks in three places: the LUTs that come with the program, your folder, and the ones installed in Resolve. You pick your folder once, under the lists, and it holds for every job; if you do not pick one, SemSync tries the LUTS sub-folder of your effects library on its own. Every entry says where it comes from.
The light theme tired the eyes in daylight, and this is a program you use at night: the page is now born dark, from the very first instant it opens, without the white flash it used to have. The light theme is not gone: it lives in Account, under Appearance, together with light, dark and follow the system. Whoever picks follow the system sees it change on its own when the computer changes, without reopening anything. The three theme buttons are gone from the app header: the language stays there.
The reference file was going into the list twice, once as a camera and once as the mixer, and SemSync ended up believing all of its footage belonged to the mixer: it stayed without a LUT and out of the colour balance. On Morelz's project that was 699 clips out of 699. Now the camera always wins. And after applying the LUTs, SemSync reads them back from Resolve and counts how many clips really have one, camera by camera: if the numbers do not add up it tells you and says what to do, because Resolve answers 'done' even when it has done nothing.
In the Edit style step there is a row per camera with a slider: you drag it to say how much of the edit that camera should take, and the colour bar above shows at a glance how the night is shared out. A radio button says which camera goes on the drop. It is not chance: SemSync keeps count of how much each one has had and every time puts on the one furthest behind its share, switching camera when another one is owed its room. If you touch nothing, the edit stays exactly as it was. Along with this, the whole program now speaks English: the lines coming from the engine and the server were still partly Italian, and they are all translated now, 535 out of 535.
The camera list fills in after you press Save, so on the first Save it was still empty and the project was left with no choice. Then the list showed a camera the project did not have, and the job stopped anyway asking you to pick one. Now the choice is written into the project the moment you make it, and the first camera the list shows is written straight away: what you see is what is there. The messages also say where the box is.
Until now cuts followed the bar grid: right in time, wrong in place, because at 128 BPM a bar lasts almost two seconds and the cut could fall far from the hit you hear. Now SemSync listens to the mixer's low end at a step of one and a half milliseconds, finds the precise point where the frequency was low and rises, and puts the cut there, on the frame that contains the rise and never on the next one. Where the music stays low for at least two seconds and then comes back, a cut is born there even if the grid could not reach it. Measured on a real night: up to 114 milliseconds of offset put right. Along with it: if the mixer audio is missing you now pick at the first step which camera is the sync reference, and the job starts anyway. And in the Color step the first item is Apply a LUT, one per camera: it goes on that camera's first clip and is copied to all of its clips, while the balance between cameras now works clip by clip.
Two restarts close together spawned two new servers fighting over the same port: one took it, the other sat there not answering and the app looked dead. You get there simply by pressing the button twice when nothing happens for a second. Now the restart starts once, and if the new server fails to start the button works again instead of staying stuck forever.
Every camera has its own clock and no two clocks run the same: over a long night two recordings that start together end up apart. SemSync already corrected it continuously, but the number stayed written in parts per million inside a file, and nobody understands parts per million. Now the Sync results say in seconds how far that camera would have ended up by the end of the night without the correction, and how many frames that is. There is also a column in the sources table, camera by camera.
In a venue a strobe changes the exposure from one frame to the next, and any point tracking between two differently lit images falls apart: that is why vision systems built on sports fields break in a nightclub. Now the period of the light is measured from the light itself, with no need for the strobe to be locked to the music, and two frames in the same phase are compared, so they are lit the same. Measured on purpose-built footage: with the flashes tracking survived on fourteen points out of three hundred, now on three hundred out of three hundred. With steady light nothing changes.
A track is not only bars and hits: it breathes in phrases, usually every sixteen bars, and that is where a cut feels right even when nothing loud happens. The ear already found those phrases, the reel was not looking at them. Now if a phrase starts near where a scene would end, the cut lands on it. Not inside the drop: there the hit rules, not the period.
SemSync has heard that structure for years on club nights (bars, phrases, drops on the real attack of the hit, build-ups), but the reel took the bars and threw the rest away. Now it reads the track for what it is: intro, build, drop, body. And scenes last what the point they start in asks for: they breathe in the intro, they shorten through the build as the tension rises, they get tight on the drop. No scene straddles a drop: the cut lands exactly on it, and the best shot in the footage goes on that cut. Impacts and transitions move there too, instead of landing on any bar. On a track with no drop nothing changes from before: no structure is invented where there is none.
You choose the folder once in the reel step and it works for every job: SemSync looks in the subfolders too and works out what is a light, which goes over the scene, and what is a transition, which goes across the cut. Luma mattes, tutorials and PDFs stay out. Transitions go half at the tail of the scene that closes and half at the head of the one that opens, so the reel still joins by copy and stays fast, and not on every cut: where the cut lands on a strong beat. Files with transparency (ProRes 4444, the burning paper) are composited respecting their alpha; the ones that are light on black go in screen, and the opacity is the colour itself. Lights pass once and then the scene stays clean, instead of lying over the whole duration like a filter.
THE FRAME MOVES where the shot holds still, a slow push on details and a slow pull-out on wide shots, always at the same speed and always centred; never where the camera already moves or where the frame follows the subject, because two movements at once make you seasick. SOUNDS LAND IN THE RIGHT PLACES: the whoosh starts a sixth of a second before the cut, so the hit lands on it, and the impact lands exactly on the cut but only where that cut sits on a strong beat. Overlays one every three scenes, never two in a row. You put the files in the project's EFFETTI and SUONI folders: with empty folders nothing happens, and a broken file no longer stops the reel. Then THE RIGHT FRAGMENT: inside a shot the gesture does not start at the first frame, and the cut now enters just before it begins instead of taking the middle, so you no longer get the set table without the dish. And three new labels, bathroom, ceiling and set table: a bathroom and a ceiling stay in the catalogue and in the Resolve bins, but they do not go into the reel unless you ask for them. Catalogues already made update themselves, without reopening a single video.
Before it knew whether a shot was sharp, steady and well composed, and chose on that: so the reel ended up with technically perfect, empty shots, a man's back in a corridor or upturned glasses on a table. Now every window is also measured for whether anything HAPPENS in the frame: it tracks the image points three frames ahead, removes the camera movement and looks at what is left. Where the category promises a gesture (cooking, hands, people eating, dancing) a photograph loses to a living shot; where it is a place or a detail, a still shot is right. On the same footage, hands plating, wine being poured and the chef at work took the place of the motionless shots. Two more things you see at once: the reel no longer opens and closes on the same framing (the repeat guard was only wired into the automatic reel), and the suggested storyboard now follows the story beats, so coffee comes after people eating instead of before.
Fifteen seconds is a tight reel (shots around a second), forty-five breathes: before, length only changed how many shots got in, and a long reel came out slow. The story no longer goes back in time: the reel closes on the last thing you shot, never on a daytime shot after the evening scenes, and the light does not jump back and forth between scenes. In the app: the progress bar stays where it is when you leave a step and come back (with the right elapsed time), the step The footage explains what happens when you press, under the suggested storyboard it says how many of YOUR shots it came from and which story it recognised, and under the two buttons it says what changes between Edit the reel and Automatic reel.
It recognises the kind of job (restaurant, hotel, shop, event, travel) and edits following that communication's beats. In vertical every shot is looked at before cropping: axis shots stay centred, subjects go on the right third, and wide scenes keep the whole frame with a blurred backdrop. Empty shots and repeats stay out.
The ROOM SOUND (the sizzle, the wine being poured, the chatter) stays under the music instead of being thrown away; SHARPNESS is put back after the downscale from 5.9K to 1080, so dishes bite again; and you choose HOW IT OPENS, with the story (the place, then inside) or with your best-looking shot, which on social is the first second that decides everything.\n8.6.0: il REEL AUTOMATICO. Un tasto e basta: SemSync prende le riprese migliori fra quelle che ha gia' guardato (tecnica e composizione), le mette in un ordine che ha senso (si apre sugli ambienti, si entra, si chiude sui dettagli o sulla notte), taglia sulle battute, sviluppa il colore e segue il soggetto. Senza scrivere una parola. | 8.6.0: the AUTOMATIC REEL. One button: SemSync takes the best shots among those it has already looked at (technique and composition), puts them in an order that makes sense (opens wide, moves inside, closes on details or on the night), cuts to the beat, develops the colour and follows the subject. Without writing a word.
A 9:16 reel keeps a third of the width: the crop used to sit still in the middle and cut signs and people in half, now it follows faces (or wherever the subject is) with a slow move, no jumps, and stays still when there is nothing to follow.
Flat profiles used to give a milky reel: now SemSync measures every shot and puts back blacks, whites, neutral greys and the right saturation, without overdoing it and without touching footage that is already graded.
On top of focus, exposure and movement, every shot gets a 1 to 10 score on composition: a steady, in-focus shot of a wall or a cloud of steam no longer ends up in the reel, and the opening is the best-looking one you have.
In Creator every shot is really watched: a real piece of footage at a time, with the camera path (still, smooth move, handheld shake, wobbly, whip pan), focus, exposure, black bars and horizon. The edges of a shot are never used (the start, when you press rec and settle the camera, used to be the most frequent and worst pick), a shot with a single flaw stays out even if it matches the scene, the opening is the best frame available, the same shot is never used twice in a row, and slightly shaky ones go in stabilised in two passes. Footage shot at 50 or 100 fps goes into real slow motion when the scene asks for it.
In Creator, before the storyboard, SemSync looks at all the footage: it sorts the clips by category (plate details, the chef, the dining room, the dj, the crowd, aerial...), measures whether they are sharp, exposed and steady, marks the HEART of every clip and sets the rejects aside; in Resolve it makes a RIPRESE bin with one sub-bin per category, clips inside, colour, keywords and a green marker on the heart. It suggests the storyboard from the categories it saw, picks inside the heart and never among the rejects, and builds the REEL timeline in the project with the music on A1, beat and drop markers and the clips cut on the bars.
The drop is the real attack of the hit (SemSync listens to the bass again every 11 thousandths and puts the cut on the first instant of the rise, with the usual lead), and at energy changes (the dj pulling down, the music coming back) the camera changes where the level changes, not at the next bar. The log says how many drops and changes moved.
Start runs the analysis (before it asked to build from an analysis that was not there), the step is called Analysis and shows the five phases, the live numbers, the sources and the tempo; when a job stops the app says the real line and opens the log. And the frame rate: every SemSync timeline takes the footage frame rate with its own settings (the project born on Save was at 24 fps and left three-frame gaps between clips), the engine reads the timeline back and counts the gaps.
Open SemSync and find the job choice, then each door with its steps: the project (name and genre required, folders and Resolve project on Save), Edit style, Analysis, Colour, Export. Business is one door for corporate and podcast. The Creator has the reel from a storyboard: you write it, dictate it or import it, SemSync looks at the footage, says which scenes it finds and edits the reel in 9:16; missing scenes are reported, never invented. Five new tools (cards with verification, footage check, convert for Resolve, transcribe, level). Italian and English in the page, light or dark theme. The previous app stays on /vecchia.
Open SemSync at /nuova: the job choice and The project, the form with name and genre required, the Save that creates the folders and the Resolve project with the ROUGH CUT timeline right away, in Italian or English, light or dark or like the system. The other pages come one at a time: from there you continue in today's app.
SemSync can create the project folder with MIXER and the cameras inside, write the project sheet (name, genre, event, artist) and create in Resolve the project with that name and the empty ROUGH CUT timeline: the edit then uses that project and that timeline, without making a second one. The interface that shows it comes with the redesign.
Every lesson says which learned numbers acted, and the server compares the jobs done with that number and without: if with that number people correct more, the number switches itself off and the starting one comes back (or the one from the step above: venue to genre, genre to everyone). In ACCOUNT you see how many keys are off; the job log says when a number is off. Your personal choices are never judged.
In ACCOUNT there are two buttons: UPDATE SEMSYNC (checks and installs) and RESTART SEMSYNC.
Before it stayed at 0% even when every file was already in the trash, because the app asked the status from a route that answered 404: now you see the progress, the final pop-up and the GB count. A file already moved inside its folder no longer counts as an error.
The installer puts the SemSync icon on the desktop and in the Start menu (on Mac: SemSync in Applications with an alias on the desktop): double click and it opens in its own window. And it opens Resolve for you: the Open Resolve button in the status panel, and every job that needs Resolve opens it by itself when it is closed and waits for it to answer.
Under Other remain club clips, clipmaker and tools.
From you first: from the third job your choices (pause between sentences, seconds before and after the drop, clip length, what you tick in clean-up) become the suggestions in the fields, with where they come from written under them. Then from the genre: the editing pattern around the drop (how long to hold on the hit, how much fire after, how much breathing in the groove) is read from finished timelines and drives the rough cut, per genre, kind of place and venue. Whoever picks a value by hand always wins.
It analyses the disk and shows what takes space and what can go to the trash: DaVinci Resolve caches (they rebuild), old temporary files, browser caches, old installers, big files in Downloads. You tick, you confirm with the list in front of you, and everything goes to the trash: nothing is deleted for good, you empty it.
In PREPARE a card that reads RAM, processor, the night's disk, graphics card and the heavy programs, and says what to do with a verb: how many GB to free on the disk, what to close when RAM is short, when to work one night at a time. Before START it says if something is critical. Recognises Mac and Windows, chip and components.
The voice is recognised on your PC, without Resolve and without internet: subtitles as .srt and in the word by word style (TikTok) in the reels, fillers (um, hmm, uh) removed without biting the words, YouTube chapters ready to paste, and the finished long mp4 made by SemSync itself when Resolve is not there. The first time it downloads the voice model (460 MB).
SemSync measured 5,368 free licence tracks across 26 genres and drew the identity card of every genre (kick, hats, four on the floor regularity, hits per second). It now measures the same fingerprint on your night's mixer: the genre advice no longer looks at BPM alone, and under the genre menu you see the genre's card. The cards the free archive lacks (tech house, hard techno, trance) are learned from real nights, without ever sending the footage.