If you shoot with an external recorder, you already know the chore. Your camera holds scratch audio, your recorder holds the good audio, and before you can edit you have to marry the two. One clip at a time, that is quick. A whole documentary shoot with a couple of interviews, a pile of B-roll, and hours of tour footage is a different story, the kind of busywork that eats an afternoon before you have made a single creative decision.
So the team built Sync, a plugin for Premiere Pro and DaVinci Resolve that batch syncs your footage to your audio. You drop in every camera file and every recorder track, click Analyze, and it works through the whole shoot and organizes the result for you. Here is how it works, and, just as important, where it fits.
This video may reference an older version of Sync. Features and UI may have changed since recording.
What Sync is: batch sync for a whole shoot
Lead with the mental model, because it shapes how you use it. Sync matches a lot of footage to a lot of audio in one pass. You point it at your clips, it figures out which recorder track belongs to which camera take, and it lays everything out synced and labeled. It is not a single-clip tool (more on that below), it is a batch tool for the moment you sit down with a full card dump and need it all lined up.
It works the same in Premiere Pro and DaVinci Resolve, so you can follow either one. Sync is a paid plugin, but it comes with a 7-day free trial through Filmit Studio, and the trial unlocks the whole Filmit bundle, not just Sync. You install it from Filmit Studio, our desktop app manager: open the Premiere option, click Sync, and click install, or do the same under DaVinci Resolve. Then open it in Premiere via Window, then Extensions, then Sync. In DaVinci Resolve it is Window, then Workspace Integrations, then Sync. Both hosts function exactly the same from there.
Load your audio and footage, then Analyze
Once your media is imported, open Sync and give it two things. First, drop in your audio by dragging your recorder waves into the audio area. Then drag in all of your camera footage. In the demo that was about 136 video files from a documentary we have been working on, a mix of B-roll, a couple of interviews, and tour footage, with at least 45 minutes of interviews in the project. You do not sort or pair anything by hand, you hand Sync the whole pile.
Then click Analyze. Sync loads every file, renders the audio it needs in the background, and starts working through each clip to see whether it matches a recorder track. That is the entire ask on your side: load, click, done. Everything after that is Sync doing the tedious part for you.
Robust, not fast: batch it and walk away
Here is the honest framing, and I say it in the video because it matters. Sync is robust, not fast. It does the work for you rather than beat you on a stopwatch. If all you have is one clip and one audio track, syncing that by hand in Premiere or Resolve is quicker, and you should just do that.
Where Sync earns its keep is volume. When you have a whole shoot to line up, you click Analyze and walk away: grab a coffee, answer email, cut something else, and let it run in the background. In the demo, 136 clips took somewhere around 15 to 20 minutes, and I was not watching it, I was doing other things. Ten clips would have been done in a fraction of that. The point is not the clock, it is that the boring job happens without you sitting there.
Pro Tip: Do not judge Sync on a single clip, judge it on a card dump. The bigger the batch, the more time it saves you, so save it for the moment you have dozens of files to line up, click Analyze, and go do literally anything else.
How Sync matches: timecode, transcript, and waveform
Sync does not lean on one trick to find a match. It uses three signals together: the timecode on your files, the transcript of what was said, and the waveform itself. Cross-checking all three is what makes it robust, because when one signal is weak or missing, the others can still carry the match.
Then it grades its own work. Every file gets ranked low, medium, or high. Low means no match, exactly what you want on B-roll that never had a recorder rolling. High is a confident match. Medium is Sync saying, in effect, I think these go together. You get that ranking across all your files and cameras, so before you build anything you can see what lined up cleanly and what did not.
What Sync builds in your project
When the analysis is done, you tell Sync what to create. In the demo I had it build scene sequences plus a master, then clicked Create. Sync assembles a tidy Sync folder in your project panel and sorts everything into it: matched audio, matched video, your sequences, slices, and, crucially, unmatched audio and unmatched video. That last part is a touch I like: instead of quietly dropping what it could not pair, Sync tells you these did not match and keeps them organized, so nothing goes missing.
Inside the sequences folder you get all of your matched sequences plus the Sync master. The Sync master is a nested timeline that lays the entire project out in one place, which makes it easy to see the whole shoot at a glance and jump into any individual sequence from there.
Multicam angles and settings
Open one of those synced sequences and you can see the work. In a two-camera interview you get Camera A and Camera B stacked and synced to the recorder wave, with each camera's scratch audio sitting underneath. The clean recorder audio is the wave up top, and the camera scratch tracks are below it.
Sync's settings let you shape how that is arranged. You can build multi-angle scene sequences, build a master timeline, and choose where the main recorder audio lands. I like mine up top on A1 with the camera scratch below, so that is how I set it, but you can flip it and send the main audio to the bottom instead. It is your layout.
There is a nice detail for run-and-gun audio too. If you stopped and started your recorder several times during a shoot, Sync lays those takes out along A1 in order. If any overlap it stacks them, and as long as they do not overlap they all sit in a row on A1. That is how we wanted it to behave, so a messy stack of recorder takes comes back as an orderly timeline.
Pro Tip: Set your audio layout in Sync's settings before you click Create, not after. Deciding up front whether the main recorder audio rides on A1 or drops to the bottom means every sequence Sync builds comes out the way you want, with no rearranging later.
When a match is off, just delete it
One more honest note, because being robust cuts both ways. Sync tries hard to find a home for every file, and once in a while that means it proposes a medium match that is actually wrong. In the demo it tucked a bit of B-roll into a sequence where it did not belong, because the waveforms looked close enough that it took a swing. That is the tradeoff of a tool that tries many methods to line things up.
The fix is trivial: you see the clip that does not belong, and you delete it. On a project like the one in the video, I know at a glance what is B-roll and what is not, so cleaning up a stray clip takes seconds. Either way, Sync still synced all of my audio for me, the part that would have taken the afternoon. We are actively updating Sync to make it even more robust, and we genuinely want your feedback: try it on your projects and tell us how it does.
Key takeaways
Sync turns the afternoon-long chore of pairing recorder audio to camera footage into a click and a coffee break, in Premiere Pro or DaVinci Resolve.
Sync shines on a whole shoot. For one clip and one track, sync by hand. For a full card dump, let Sync do it.
Click Analyze and walk away. It runs in the background so the boring job happens without you sitting there watching it.
Timecode, transcript, and waveform together, then every file ranked low, medium, or high so you can see what lined up.
A Sync folder with matched audio and video, scene sequences, a master timeline, and unmatched audio and video so nothing goes missing.
The same workflow in Premiere Pro and DaVinci Resolve, and if a medium match is off, you just delete the stray clip.
Get started with Filmit
Sync installs through Filmit Studio, the desktop app you download from your dashboard to manage every Filmit plugin for Premiere Pro, DaVinci Resolve, and After Effects. It comes with a 7-day free trial that unlocks the whole bundle, and one price covers the entire growing suite rather than a steep fee per plugin, which is what funds the constant updates we ship to tools like this one.
If you are syncing a shoot in order to cut it, pair Sync with RoughCut, our AI assistant editor in the same bundle: let Sync line up and organize the footage, then let RoughCut assemble a first pass from your interviews. Start a free trial, install any of the tools, and the team is on Discord for questions and feedback. We would love to hear how Sync does on your projects.
