🎥
Documentary & interviews
Lavs, booms, and two cameras across a day of conversations, synced and stacked into scenes in one pass.
New in 1.1 · Review every match
Sync
Drop in your camera bins and your recorder files. Sync matches every clip to its audio, stacks your multicam angles into scenes, and builds synced, organized sequences with a master timeline ready to cut. In Premiere Pro and DaVinci Resolve.
Pr Resolve
Start Free Trial ✦ 7-day free trial
Sync comes with Filmit Studio, along with our whole suite of plugins, effects, transitions, overlays, and courses, plus everything new we ship. It's all included!
Included with Filmit Studio
Sync v1.1
Sources Analyze Build
Watch the Demo
See Sync in Action
A full walkthrough on a real shoot: 136 files in, matches checked in Review, six synced sequences and a master timeline out.
DaVinci Resolve
Demo coming soon
This one is live in the app today. We are recording its demo now.
Get Started
How to get Sync
Three steps and you are up and running, with Sync and every other Filmit tool, right inside your editor today.
1
Create your account
Sign up free at filmit.io. No card needed to look around.
2
Install Filmit Studio
Download the free desktop app for Mac or Windows. It manages every tool for you.
3
Start your free trial
Start your 7-day trial and install Sync plus every other tool, straight into your editor.
The Problem
Syncing by hand eats your first day.
Before a single creative decision, someone has to marry every clip to its audio. Sync does that whole day of work in one pass.
📣
Hunting for the clap
Scrubbing waveforms, hunting slates, nudging audio a frame at a time, for every single take. Multiply that by two cameras and a day of footage.
✓ Sync matches whole bins at once, frame-accurately
🚫
The old go-to tool is gone
PluralEyes was discontinued, and editors have been stitching together workarounds ever since. Waveform-only tools still guess wrong on quiet scratch audio.
✓ Three matching methods, cross-checked on every clip
🎞️
Multicam setup is its own job
Even with synced audio, someone still has to figure out which clips are angles of the same moment, stack them, and line them up on a shared clock.
✓ Angles are detected and stacked into scenes automatically
Features
Two bins in. A synced project out.
Sync isn't a clap detector. It's a full sync pipeline that lives inside Premiere Pro and DaVinci Resolve and hands you a project that's ready to edit.
Three-way matching
Timecode when you have it, dialogue matching when people talk, and waveform analysis always. Every clip is matched by whichever methods apply, and they check each other's work.
Frame-accurate lock
Every match is refined to the exact frame before anything touches your timeline. Lips line up, claps land, no one-frame slips.
Camera-native formats
R3D, BRAW, ARRIRAW, and anything else your editor plays. If it's in your project, Sync can match it. No transcoding first.
Multi-angle scenes
Cameras that covered the same moment are detected and stacked, V1, V2, V3, on a shared clock, with the clean audio underneath. Your multicam assembles itself.
Master timeline
Every synced sequence, laid end to end on one master timeline. The whole shoot on a single timeline, and any piece opens into its own sequence.
Every track kept
Your camera audio stays exactly as it was shot, and the synced recorder lands on its own track, top or bottom, your choice. Nothing is deleted or flattened.
An organized project
Everything Sync builds is filed in a Sync bin: synced sequences, scenes, and the master timeline, with your originals untouched. Want matched and unmatched footage sorted too? Linked-copy bins are a setting you can turn on.
Review, then commit
Confident matches build automatically. In Premiere Pro, the Review screen lets you listen to any match, slide it frame by frame, and mark it Good or Wrong before it builds. A doubtful guess never lands on your timeline unasked.
Premiere Pro & DaVinci Resolve
Sync runs natively in both, on Mac and Windows, matched to each app's look. Same workflow, your NLE of choice.
Trust at scale
Green means checked. Twice.
Batch tools live or die on trust. Sync earns it by showing its work on every single clip.
✅
Auto · high confidence
Matches that agree, build
When independent methods land on the same answer, or a single match is beyond doubt, the clip is marked green and builds without you touching it. Drop 100 clips and 10 recordings, and trust the checkmarks. In Premiere Pro, the Auto setting also places each clip's best remaining match, for shoots full of takes that sound alike.
🔍
Review · anything uncertain
Doubts go to you, not your timeline
A quiet scratch track, a clip that might not belong, methods that disagree: those wait for you instead of building. In Premiere Pro, Review shows camera and recorder audio lane by lane, so you can listen, slide by a frame, and mark it Good or Wrong. You decide.
Everything runs locally on your machine. Your footage and audio are never uploaded, and dialogue matching works without an internet connection.
Native, not round-tripped
No exports. No XML. No second app.
Standalone sync apps make you export, sync somewhere else, and import an XML back. Sync works on your project where it already lives.
| Sync | Merge Clipsbuilt into Premiere Pro | Standalone appsXML round trip | |
|---|---|---|---|
| Lives inside Premiere ProA panel in your editor. No second app to open, license, or learn. | ✓ | ✓ | ✗ |
| No XML export or re-importNothing to export, round-trip, and import back into your project. | ✓ | ✓ | ✗ |
| Works on the bins already in your projectNo copying media into another app, no relinking afterwards. | ✓ | ✓ | ✗ |
| Syncs whole bins at onceTwo bins in, every clip handled in one pass. | ✓ | ✗one merge at a time | ✓ |
| Finds each clip's recording for youEven a take buried inside an hour-long recorder file. | ✓ | ✗you pick the pair | Varies |
| No timecode or clap neededLocks on the audio itself. | ✓ | ✓ | ✓ |
| Dialogue matching cross-checkWhat was said is compared, not just the waveform. | ✓ | ✗ | Varies |
| Builds multicam scenes automaticallyAngles of the same moment stacked on a shared clock. | ✓ | ✗ | Varies |
| Listen and fix a match before it buildsHear camera and recorder together, slide by a frame, mark Good or Wrong. | ✓ | ✗ | Varies |
| Master timeline of the whole shootEvery synced sequence laid end to end. | ✓ | ✗ | Varies |
Compared in Premiere Pro. "Varies" means it depends on which standalone app you use.
How it works
Drop. Match. Review. Build.
Four stages take you from two bins of raw media to a synced, organized project.
Stage 1 · Drop
Two bins. That's the setup.
Drag your camera bins into Video and your recorder files into Audio, straight from the project you already have open. Multiple cameras, multiple recorders, whole days of footage at once.
- Works from the bins already in your project
- Add as many camera and audio bins as you like
- B-roll without audio is fine, it's sorted out for you
- Nothing is moved, copied, or re-imported
Sources
🎬VIDEOA Cam + B Cam · 47
🎧AUDIORecorder · 8
Stage 2 · Match
Three checks on every clip.
Sync reads timecode where it exists, matches what was said with on-device dialogue analysis, and compares the audio itself, then cross-checks the answers. When they agree to the frame, that's a lock you can trust.
- Timecode, dialogue, and waveform, cross-checked
- Finds a take anywhere inside an hour-long recording
- Confident on lav-vs-camera-mic pairs that barely share a waveform
- Uncertain matches go to review, never straight to the timeline
Cross-check
Timecode+12.501s✓
Dialogue+12.499s✓
Waveform+12.500s✓
High confidence · auto Stage 3 · Review
Hear it before it builds.
New in Sync 1.1 for Premiere Pro. Open Review to check any match by eye and by ear: camera audio and recorder audio as waveform lanes, one per channel. Press play to hear them together, scrub anywhere in the take, and if a match is slightly off, slide the recording frame by frame.
- Mute and solo on every lane
- Multicam takes show every camera and recording together
- Mark matches Good or Wrong, Reset to undo a nudge
- Create one sequence, or all of them, from Review
Review
A Cam
MS
Recorder
MS
✓ Good✗ Wrong◀ 1 frame ▶
Stage 4 · Build
Scenes, a master, and tidy bins.
One click builds it all: a synced sequence per take, angles stacked into multicam scenes, your camera audio kept, the clean recorder placed where you want it, and a master timeline of the whole shoot. Everything it builds lands in a Sync bin, and your originals stay untouched.
- Angles stacked V1, V2, V3 on a shared clock
- Sequential recordings laid back to back on one track
- Master timeline of every synced sequence, end to end
- Everything filed in a Sync bin, originals untouched
Scene Sequence Built · 6 sequences + master
V2
V1
A1
A2
Multicam
The multicam that assembles itself.
Two cameras on one interview shouldn't mean an afternoon of setup.
Angles find each other.
When two or three cameras lock to the same recording at the same time, Sync knows they're angles of one moment. It stacks them into a single scene sequence on a shared clock, camera audio kept underneath, clean sound where you want it.
A long take covered by several recorder files? Those land back to back on one audio track, not staircased across five. And every scene is nested into the master timeline, so the whole day is one scrub.
Turn scenes or the master off in settings if you'd rather have one sequence per clip. Your workflow, your call.
Use cases
Anywhere sound rolls separate.
If you record audio away from the camera, Sync gives you your first day back.
💍
Weddings & events
Ceremony mics, DJ feeds, and roaming cameras. Everything lines up, even when recorders ran for hours.
🎙️
Podcasts & talking heads
Per-person recorders matched to every camera angle, ready to cut to whoever is talking.
🎤
Music & performance
Board mixes and performance takes matched to every camera, no clap, no timecode required.
🏢
Corporate & branded
Multi-camera shoots with dedicated sound, synced and organized before the client asks for selects.
🎬
Narrative & film
Dual-system sound married to every take, scene by scene, with your camera scratch kept for reference.
Setup
From two bins to a synced project in four steps.
No claps, no slates, no manual nudging.
1
Drop your bins
Camera bins into Video, recorder files into Audio, straight from your open project.
2
Analyze
One click. Every clip is matched by timecode, dialogue, and waveform, and the answers are cross-checked.
3
Review
Strong matches are done. Open Review to listen to anything you want to check, fix it by a frame, and mark it Good or Wrong.
4
Build
Synced sequences, multicam scenes, a master timeline, and an organized project. Start cutting.
FAQ
Common questions
Everything you need to know about Sync.
No. Sync only reads the media already in your project and creates new sequences from it. Your original bins, files, and folder structure stay exactly as they are. The Sync bin holds everything it builds. If you like, turn on linked-copy bins in settings to see what matched and what didn't.
No. Everything runs locally, including the dialogue matching, which uses an on-device speech engine. Nothing is uploaded, and syncing works without an internet connection.
Anything your editor plays, including camera-native formats like R3D, BRAW, and ARRIRAW, with no transcoding first. On the audio side: WAV, MP3, and everything in between, including hour-long recorder files that span many takes.
It tells you instead of guessing. Only confident matches build automatically. In Premiere Pro, open Review to see and hear the camera and recorder audio side by side, slide the recording frame by frame, and mark the match Good or Wrong. Wrong matches stay out of the build.
Sync 1.1 for Premiere Pro adds Review, a screen for checking every match before anything is built. Matching is smarter too: a recorder folder with one file per mic counts as one recording, the new Auto setting handles shoots with many similar takes, and clips with a built-in head offset, such as RED footage, now land exactly in place. Read the full rundown in our Sync 1.1 article. The DaVinci Resolve version is a separate release.
When two or more cameras lock to the same recording at overlapping times, Sync recognizes them as angles of one moment and stacks them into a single scene sequence on a shared clock, with the clean audio underneath. Solo takes get their own sequence. You can turn scene building off in settings if you prefer one sequence per clip.
No. Timecode is used when it's there, but Sync locks footage with dialogue matching and waveform analysis alone. No slates, no claps, no jam-sync boxes required.
Yes. Sync is included with your Filmit Studio subscription at $20/month, along with every other Filmit tool, overlay, and course. Try it with a 7-day free trial.