![]() Some NLE systems do this automatically, like the magnetic timeline in FCP X, but there are plenty of occasions where you don’t want them locked together. Sync locks allow you to lock certain tracks together in order to keep them in sync with each other. If you only had your video track selected and you deleted some time, it would only affect your video layer, bumping everything else out of sync. ![]() In other words, if you were adding or removing time, you had to make sure you were doing it across all the tracks you wanted to adjust. In the early days of non-linear editing, the systems were designed to emulate a flatbed for film editing. You can’t afford to start trimming in the middle of your cut willy-nilly if you’re not 100% sure that everything else in your timeline is going to be where you want it to be. That’s where “Sync Lock” comes in. There are a number of ways to do this, but of course, the main thing you need to do is keep everything else in the right place. The director wants to add in a few shots and extend the montage part of this scene. This scene has dialog, SFX, buzzes and a couple of music tracks that correspond to specific hit points in the film. The director wants to change a scene in the middle of the film, one of the complex ones. The first and last scenes have both specifically got a lot of audio and video tracks, as do some of the scenes in the middle of the film. I have 26 tracks of audio and 5 tracks of video in my timeline. It’s 105 minutes long and fairly complex: I’m using Avid Media Composer because of its unmatched power when it comes to collaborative projects. ![]() I’m cutting a film and we are close to having the director’s cut completed.
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