For editors
Less manual lining-up.
Spend less time dragging clips around to locate the performance and more time shaping the edit.
DaVinci Resolve music-video tool
Stop lining up music-video takes by hand.
KFS Music Sync listens for the master song inside camera clips and builds reviewable Resolve timelines, so editors start with a timing layer instead of dragging every take into place by hand.
- Input
- Master song and camera clips
- Output
- Synced and b-roll Resolve timelines
- Role
- Starting point, not an automated edit
The problem
Music-video footage rarely arrives as a clean multicam puzzle.
It arrives as false starts, restarts, partial performances, repeated choruses, quiet scratch audio, slow-motion clips, and b-roll that may not contain the song at all. Before the edit can become creative, someone has to find where the song is hiding.
For small teams
A clearer first review.
Give directors, producers, and assistants a practical orientation layer before creative review starts.
For real shoots
Built for messy takes.
Designed around music-video clip counts and imperfect production audio, not only clean demos.
What it does
Turns scratch audio into orientation.
It listens for the master track. Camera audio becomes a clue for where each take belongs.
It creates new timelines. Original camera media stays preserved and reviewable.
It separates uncertainty. Clips without a confident song match can stay visible as b-roll material.
It keeps the editor in charge. The result is a starting point for the cut, not a final creative decision.
Why it is different
Not just beat markers. Not traditional multicam sync.
Beat markers help cut to rhythm. Music Sync is for placing performance takes against the master song before the edit starts.
Multicam sync expects a cleaner camera relationship. Music-video coverage often includes repeated sections, false starts, partial takes, and b-roll.
Resolve 20 can detect music beats. That is useful, but it is different from matching camera playback audio to the song.
Music Sync creates orientation. It gives the editor a practical starting timeline, then the editor makes the creative cut.
Workflow
Select the material. Match the song. Start cutting from a clearer place.
-
01
Bring the material into Resolve.
Start with the mastered song and the camera clips already in the project.
-
02
Run Music Sync.
Use the Resolve script to compare clip audio against the master song.
-
03
Review the generated timelines.
Confident matches land in a synced performance timeline. Non-matching clips stay available for review.
-
04
Make the edit.
Use the timing layer to get moving, then make the creative decisions yourself.
Limits
Narrow by design.
Music Sync is not trying to replace Resolve, replace the editor, or promise perfect sync on every clip. It solves one repeated moment: finding useful song timing before the creative cut begins.
Non-destructive
Creates new timelines and leaves source media intact.
Reviewable
Designed to surface results an editor can inspect, not hide decisions.
Repeatable
Runs can be repeated as the project changes, with analysis caching planned around real use.
Honest
Difficult, quiet, or distorted clips may still need human review.
Checkout
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Next reading
More Music Sync notes.
DaVinci Resolve music-video sync
How the workflow fits music-video footage, not generic sync problems.
Resolve Beat Detector comparison
Where beat detection helps and where Music Sync solves a different job.
Compatibility and limits
What to know before trying it on real Resolve projects.
Private beta
See who the beta is for, what it will measure, and how to request a place.