Built for the whole shoot, not one take at a time. Point it at the card dumps — every camera, every recorder, every take. Sync matches on audio, corrects clock drift, re‑stamps matching timecode into new copies of the audio files, rebuilds your folders as bins, and opens Premiere Pro or DaVinci Resolve with one button.
PrePost Sync
One pass over the whole offload. No merging clips a pair at a time, no multicam source sequences, no XML round trip. Sync matches on the sound itself, so cameras that were never jam-synced and recorders running their own clock all land in the right place.
Sync view puts every clip at its real offset, so you can see what matched. Editor view lays the same timeline out the way your NLE will — V1, V2, V3 above the divider, audio below. Switching between them is a view change: the offsets never move.
A synced timeline is not yet a timeline you want to hand over. Strip the camera scratch audio now the real sound is under it, label every camera, space the blocks apart, and collect the takes that did not match — in one pane, with a reset arrow on every change.
Two devices recording one event rarely share a clock, and the ones that do not diverge steadily: the sync holds at the start of the take and walks away from it by the end. Sync measures that rate error and tells you what it actually costs — in milliseconds, and in frames, across the take.
Automatic sync gets it right, but you should never be stuck with a result you cannot adjust. Select any clip and the pane stacks its waveform directly over the camera it matched against, with a jog wheel underneath that slides it while you drag — so you set the offset yourself and watch the peaks line up as you go.
Normally what Sync learns about your audio dies with the project: hand the recorder’s WAVs to an editor and they still carry whatever free-running clock the recorder had that morning. Re-stamp Timecode saves a new copy of the take carrying the matching, synced start timecode on the camera’s clock — so Premiere, Resolve, Avid or Pro Tools place it correctly with no XML and no PrePost Sync.
An eight-channel field mix is eight lanes, not a stereo pair. Sync keeps the channels apart, lists them individually, and lets you strike off the ones you do not cut with — the camera-mic channels, usually — before anything reaches your NLE.
Every camera source in one multicam grid, exactly as your NLE would show it. Scrub the timeline and all angles move together, so a take that did not land is obvious in seconds rather than after the round trip.
Premiere already writes its clips to the macOS clipboard. Select them in the project panel or a sequence, copy, and paste straight into Sync — no CEP panel to install.
Premiere Pro
PrePost Sync
No panel · No extension · No export
The folder tree your shoot came off the cards in becomes the bin tree your editor opens. Build it in the export sheet — add, rename and nest — instead of rebuilding it by hand on the other side, or dumping everything into one bin and sorting it out later.
Set the sequence settings once, then press the button — Sync writes the XML, locates the application itself and opens it. Resolve is driven through its scripting API, which is the only route that carries the Media Pool bin tree and your clip colours across.
Open in Premiere Pro
One button. Sync writes the XML, finds Premiere and opens it — no save dialog, no File → Import.
Open in DaVinci Resolve
The same single button, driving Resolve directly — so the Media Pool bins and your clip colours arrive with it.
Export .xml
Prefer to import by hand? Write a standard XML — a Premiere flavour and a Resolve flavour, and Final Cut reads one too.
The whole card dump, or clips pasted from Premiere.
Cards grouped, tracks placed, audio matched.
QC in the grid. Strip scratch audio, label, space the blocks.
One click. XML written, bins and colours intact.
Flexible access. Cancel anytime.
One-time payment. Keep it forever.
Launch price — $50 off the lifetime licence
