Sam calls: “Can we add lower thirds for each new speaker and remove the old interview clips?” Alex uses Module 5: Asset Version Control — duplicates the timeline, labels it PROJECT_NAME_v4_CLIENT_NOTES , and stores the old version in an “Archives” bin. No risk of losing prior work.
Alex nods, remembering . Instead of importing 400 GB of 4K footage directly, Alex creates proxies (ProRes LT, 1920x1080). Within 15 minutes, editing begins smoothly on a laptop.
Jordan asks, “How are we matching the Sony A7S III, FX6, and iPhone footage?” Alex recalls Module 7: Color Management . Alex applies a technical LUT to the Sony clips to match Rec.709, then uses a Color Match tool with a reference frame from the FX6. iPhone footage gets a slight saturation and gamma adjustment. A quick side-by-side on a vectorscope confirms alignment.