In development · Early access

From card
to cut.

POSTIT by Neon Diesel

The assistant editor’s night shift, done before you sit down. PostIt offloads and verifies the cards, checks every clip the same day, syncs the sound, transcribes every word and builds your bins for Avid, Premiere or Resolve. When the cut locks, it conforms back to the camera originals.

Talk to us about your project See how it works
00:00:00:00
Three ways in

Start where you are.

On a stage with cards coming off the camera, in an edit bay with a stack of drives, or at a desk with a folder of your own footage. PostIt shows you the tools for where you start, and keeps the rest a click away.

On set · DIT · data wrangler

Shooting now

Every card offloaded to every drive in one read, then checked before it’s safe to format.

  • Copies read back and recorded in ASC MHL
  • Same-day checks: dropped frames, silent tracks, camera clocks
  • A daily report for the producer and post
  • A forecast of when the drives fill up
Editorial · assistant editor · post sup

Shoot’s done

Point it at the drives. It checks what arrived against the records it came with, then gets the edit started.

  • Synced, transcribed, logged and binned
  • Proxies named and timecoded for the conform
  • A readiness report: what editorial should know first
  • Conform back to the originals when the cut locks
Creators · channels · small teams

Your own footage

From a folder of clips to a finished video, without the hours of scrubbing.

  • Search every word you said
  • A first cut from your brief
  • Captions, chapters and titles
  • Vertical shorts, ready to post
What it does
Offload
One read of the card writes every backup drive at once, then each copy is read back from disk and checked against the card. Safe to format means every copy matched.
Check
Truncated or empty files, silent channels and duplicate offloads, plus camera clocks measured against the sound, found while the crew can still fix them.
Sync
By timecode, by camera clock or by waveform. Each shot says how it was matched, and only sound-confirmed findings become warnings.
Read every format
Sony, Canon, ARRI, Panasonic, Blackmagic, RED, phones and drones. Image sequences hold their frame numbers, and log footage previews with its camera’s look, so it isn’t flat and grey.
Transcribe & log
Every word searchable, with who said it. Scene, take and descriptions on every clip, following your script, call sheets and sound reports.
Bins & media
Editorial media that keeps the camera’s name, reel and timecode, with your burn-ins and looks if you want them. Bins by day and scene, ready to import.
Selects & cuts
Highlight a line to make a select. Build a first assembly from your brief, tighten the pauses, then render the cut or the shorts.
Review
Send a cut or a day’s clips to Frame.io for review, then bring the notes back as markers on the exact frame.
Alerts
Slack and email the moment a card is safe to format, a problem turns up, or the day’s report is ready.
Conform
Bring back the locked AAF, XML or EDL. PostIt relinks to the camera originals and builds the finishing timeline for color.
Less time wrangling.
More time making.
How it thinks

Built by finishing artists, for the work.

01
Your footage stays put
PostIt runs on your own computer, next to your drives. Nothing is uploaded to process it, and camera cards are only ever read, never written.
02
Rules first. AI if you ask.
Sync, logging, bins and cuts work without AI. When you want a polish, it’s one small, visible step you choose to take.
03
Tells you what’s next
One next step, one list of what needs a person, each with the button that fixes it. No manual to read first.
04
Made for the conform
Names, reels, timecode and frame rates kept the way the online needs them. We built it from the problems we fix in our own finishing rooms every week.
Works with

Plugs into the tools you already use.

Your editing app, your review platform, the cloud folders your production shares, and the channel your crew already watches. Each person connects their own account; your footage stays on your computer, and only what you choose to send leaves it.

AvidMedia ComposerEdit
PremiereAdobe Premiere ProEdit
DaVinci ResolveDaVinci ResolveEdit · Finish
Frame.ioReview · Camera to CloudReview
DropboxDropboxMedia
Google DriveGoogle DriveMedia
OneDriveMicrosoft OneDriveMedia
BoxBoxMedia
iCloud DriveiCloud DriveMedia
SlackChannel alertsAlerts
EmailAlerts and reportsAlerts
Your tool?Tell us what you useAsk us

Editing appsAvid, Premiere and Resolve

  • Editorial media that conforms: DNxHR for Avid, ProRes proxies that attach in Premiere, proxies Resolve links to the originals. The camera’s names, reels and timecode kept.
  • Bins by day and scene, with markers on every take: ALE and AAF for Avid, XML for Premiere and Resolve.
  • The finishing conform: bring back the locked cut and PostIt builds the Resolve timeline from the camera originals.

ReviewFrame.io

  • Send to Frame.io from any cut or clip: it uploads and hands you the review link.
  • Comments come back on the right frame, as notes on the clip and as markers you import into Avid or Resolve. Open notes in red, resolved in green.
  • Camera to Cloud: proxies uploaded from set arrive in PostIt by themselves, synced, transcribed and logged before the camera drives land.

Cloud foldersDropbox, Google Drive, OneDrive, Box and iCloud

  • Work straight from the shared folder. The same project opens on every computer that syncs it, wherever that folder lives on each machine.
  • No surprise downloads. Files that are only in the cloud are counted and left alone until you say so, so a scan never pulls down a terabyte by accident.
  • Still syncing? It tells you, before half-downloaded clips look like broken ones.

AlertsSlack and email

  • The moments that matter: a card is safe to format, a card has a problem, the day’s report is ready, overnight work is done or stopped.
  • Reports arrive as PDFs in the producer’s inbox; replies come straight back to you.
  • Slack needs no setup beyond a link from your production’s own workspace.
On the wayGoogle Drive & Sheets documentsDropbox and Box delivery linksFinal Draft scriptsShotGrid and ftrack for VFXYouTube and Vimeo upload

On Mac (Apple silicon and Intel) and Windows.

Product names and logos are trademarks of their owners and are shown to say what PostIt works with. PostIt isn’t made or endorsed by them.

Early access

Bring us your project.

PostIt is in development and already running on real productions. We’re opening it to a small group of filmmakers, editors, DITs and creators who want to shape where it goes next.

01

Try it on your show. Tell us what you’re shooting and how you cut, and we’ll set you up.

02

A direct line to the people building it. Your workflow, your problems, built in.

03

Or let us run it for you. Neon Diesel can handle your dailies and editorial prep with PostIt, then finish the picture in our rooms.

Rather just write? info@neondieselfinishing.com
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Questions
When can I use it?

PostIt is in development and running on real productions now. We’re bringing on a small group of early projects. Tell us about yours and we’ll let you know when it fits.

Does my footage get uploaded?

Not to process it. PostIt runs on your own computer, next to your drives. Only what you choose to send leaves it: a review copy to Frame.io, a report to your inbox, or short text like transcript lines for an optional AI step.

Does it work with Frame.io?

Yes. Connect with your Adobe sign-in, send cuts and clips for review, and bring the comments back as markers. Camera to Cloud uploads from set come into PostIt on their own.

Can I keep the footage in Dropbox or Google Drive?

Yes. PostIt works from synced folders in Dropbox, Google Drive, OneDrive, Box and iCloud, and the same project opens on every computer that syncs them. It won’t download online-only files unless you ask.

Which editing apps and computers?

Avid Media Composer, Adobe Premiere Pro and DaVinci Resolve, on Mac (Apple silicon and Intel) and Windows.

What about RAW?

RED, BRAW, ARRIRAW, ProRes RAW and the rest are recognised. Their editorial media is rendered through DaVinci Resolve, keeping the camera’s names and timecode.

Can Neon Diesel run it for us?

Yes. Our team can handle dailies and editorial prep for your show with PostIt, then color, conform and master in our Burbank rooms.

What will it cost?

Pricing will be announced when it opens up. Early projects talk to us directly, so tell us what you need.