Multicam automation. In an NLE built around the music.
Sample-accurate sync across every camera and recorder. A snappable beat grid built into the timeline. Cuts that follow the pace and energy of the set. Full timeline control to fine-tune all of it.
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The whole pipeline, on real footage.
Check out the announcement video here, or scroll for all the details.
Every NLE measures a set in seconds and frames. Music doesn't work that way — it moves in bars and phrases, and the tempo shifts through the night.
Transient's is built on the beat grid — no markers to place, no nudging a clip four frames and checking again. And because the grid runs through the footage as well as the timeline, a crowd shot dropped anywhere in the night still has everyone dancing on the beat.
Bars and beats, not minutes and seconds.
Seven stages, with full manual control.
It takes whatever you throw at it.
It works with timecode, LTC audio, waveform analysis and the timecode display your drone filmed before takeoff — and verifies against file metadata like names and sequence numbers to be sure.
It syncs everything in seconds. Anything it's less sure about gets flagged with alternatives, and you can override any of it.
Then there's the part other sync tools leave out. It offsets the latency between your ambient audio and your clean feeds. Sample-accurate, ready to mix.
A full multicam cut, locked to the grid.
It finds every drop, across the whole night.
Point it at a ten-hour multicam and it listens to all of it. Every drop, build and breakdown gets marked and listed, and you jump straight to any of them, fine tune, and queue for export. No more scrubbing through a night of footage trying to remember when the room went off. And anything it missed, you draw in yourself.
Once the analysis is done, the cut is instant — the whole set, across every angle. It paces itself to the energy of the set, and every cut lands on the grid.
The parameters are yours. How fast it cuts through the peaks, how much it breathes through the lulls, how much variation sits between them, how hard a drop has to hit before it influences the cut. Each camera gets a weighting, so the angles you like carry the set.
If a section isn't right, ask for another take — all of it, or just that stretch with different parameters. Refine it by hand with the tools you already use: drag a cut point with a rolling edit and it snaps to the beat. Or open the multicam switcher and record the edit yourself, every switch quantised as you punch it, so there's nothing to tidy up afterwards.
The grid holds through every transition.
A set isn't one tempo. It drifts, it steps up, and often the count restarts if a track isn’t mixed in phase. The grid follows all of it — tempo and phase, from the first track to the last — re-anchoring itself wherever the count genuinely begins again.
Everything snaps to it, and not just the ends of your clips: the beats inside them snap too. Two angles of the same pyro hit, an hour apart in the night? Drag one on top of the other and the drops line up.
It automates what you want, but it never kicks you out of the edit.
A standing principle since day oneNobody wants an application that forces them to accept an 80% edit just because it was faster. Every decision Transient makes is visible, and every one of them is yours to overrule.
It runs entirely on your machine. The analysis, the grid, the cut — all of it local, with no account to make and nothing uploaded anywhere. Your footage never leaves the drive it's on, and a set cuts just as fast on a flight as it does at home.
A full edit for YouTube, plus around fifteen clips each in 9×16, 4×5 and 16×9.
You hit export and go to bed.
That was a speed run. In practice you'd take longer — check the mixdown, fine-tune the moments, do the grade properly. That's the point. Transient does the assembly, which is the mind-numbing half of the job. What's left is the half worth your attention, and every bit of it is still yours to change.
Measured on one real set on my own machine.
Your times will depend on your hardware and how much you fuss.
Videographers shooting club and festival sets on several cameras with a recorder, who finish in Premiere, Resolve or Final Cut Pro.
Weddings, podcast and corporate multicam — there’s no beat grid to cut to. This is built for electronic music, by someone who shoots it every weekend.
How things are going.
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