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BEATFORGE
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    For DJ sets, club nights and live music

    Multicam automation. In an NLE built around the music.

    Sample-accurate sync across every camera and recorder. A beat grid built into the timeline. Cuts that follow the pace and energy of the set. And full control to fine-tune all of it.

    See it work Read the manual
    Coming soon for Windows and macOS
    To the sample
    Every camera and recorder aligned against your clean audio.
    On the bar
    Cuts land on the grid, paced to the energy of the set.
    Yours to overrule
    Every automated decision is visible, and every change can be undone.
    On your machine
    No account, no upload. Your footage stays on its drive.

    The EDIT workspace, playing a cut: eight bars at 120 BPM, every cut on a bar or a half bar.

    From a folder of footage to a finished edit, in six workspaces.

    Each workspace does one job and hands the next one something it can trust. You can open any of them at any time, and every one says what it is waiting for.

    1. MEDIA Ctrl 1 Point it at the shoot folder. Every camera and recorder is sorted into a source.
    2. SYNC Ctrl 2 Every take lands on your clean audio, to the sample. Anything uncertain is flagged.
    3. GRID Ctrl 3 Tempo, bars, phrases, builds and drops, across the whole night.
    4. EDIT Ctrl 4 Generate the full multicam cut, then shape it on the beat.
    5. AUDIO Ctrl 5 Mix the room microphones with the desk feed into one sound.
    6. DELIVER Ctrl 6 Hand Premiere Pro or DaVinci Resolve an edit that is already finished.

    SYNC

    Every camera, lined up to the sample.

    Drop in a night of footage from your cameras, phones and recorders. BEATFORGE lines up every take against your clean audio, and tells you where it is less sure.

    • Listens to the music itself, reads timecode where a camera wrote it, and checks the result against each camera’s own file numbering.
    • Anything it is less sure of is flagged for review, with the other places the take could fit one click away.
    • Corrects cameras whose clocks run fast or slow, so a long take is still in sync at the end of the set.
    • Where a camera wrote timecode, it also measures how far that camera stood from the PA.
    • Every offset is yours: drag it, scroll it, or type an exact figure. The measured value is always one click back.
    How sync works

    GRID

    Bars and beats, not minutes and seconds.

    Music moves in bars and phrases, and the tempo shifts through the night. The BEATFORGE timeline counts the way the DJ does.

    • Finds the tempo and follows it as it drifts and steps up, from the first record to the last.
    • Marks every build, drop and breakdown, and divides the set into sections that start on a bar line.
    • Shows you the few stretches it was unsure of, so you know exactly where to listen.
    • Missed a drop? Draw it in. Put bar one where a record really starts. What you set survives a re-analysis.
    • Everything snaps to it: a phrase, a bar, a beat, a half or a quarter beat.
    Reading the grid

    EDIT

    A full multicam cut, locked to the grid.

    Once the set is analysed, the cut is instant: the whole night, across every angle. It follows the energy of the music, and every cut lands on the grid.

    • Cuts the way an editor counts: on phrases and bars, tightening through a build, and opening wide when the drop lands.
    • Choose how fast it cuts in the peaks, how long it holds in the lulls, and how freely it moves between angles.
    • Weight each camera so the angles you love carry the set. Tell it which camera is the wide, the crowd or the close-up, and it uses each where it works best.
    • Mark a section HOLD for half the cuts, or HARD for twice as many.
    • Not feeling a stretch? Reroll just that part. Locked shots stay exactly where they are.
    Shaping the cut
    Settings 124.0 BPM

    Pacing

    Camera weighting

    Timeline
    MUSIC
    CALM
    BUILD
    DROP
    CALM
    V1 CUT
    Shots
    20
    Peak shot
    1.9 s
    Lull shot
    3.9 s

    A sketch of what the dials do. In the app the cut reads your actual set: its phrases, builds and drops, and which cameras were rolling.

    EDIT

    Then refine it with the moves you already know.

    The cut is a starting point, never a verdict. Every shot is yours to move, split, lock or replace, and every move snaps to the music.

    • Drag a cut point and it snaps to the beat, with a readout of how far it moved in bars and beats.
    • Record the edit yourself: play the set and punch cameras 1 to 9. Every switch lands on the grid, so there is nothing to tidy up afterwards.
    • Split, join and lock shots, or move a cut by an exact number of beats.
    • Hold Alt and drag a clip, and it moves by whole beats, bars or phrases, so two angles of the same pyro hit an hour apart still line up.
    • J, K and L shuttle, frame steps, in and out points, and a command palette on Ctrl K for everything else.
    • Undo reaches every change, from a nudged offset to a regenerated cut.
    Editing by hand

    EDIT · DELIVER

    It finds the drops, across the whole night.

    No more scrubbing through hours of footage trying to remember when the room went off. The moments worth posting are already in a list.

    • Every drop that clears your threshold becomes a moment, with a set number of bars either side.
    • A camera that only rolled for the highlights proposes its own takes.
    • Step through the queue, loop a moment, keep or skip it, and move its edges a bar at a time.
    • Export them all at once: one file with a sequence per moment, or a file each, every one starting at frame zero with its own mix.
    Working with moments

    EDIT

    See it the way it will look.

    Playback stays smooth with a stack of cameras, and log footage looks right on the monitor without a single file being touched.

    • Proxies build in the background, sized for smooth playback. Switch to the originals whenever you want to check focus.
    • View S-Log3 and V-Log footage through a Rec.709 transform, or any camera through its maker’s own LUT.
    • Point it at your folder of camera LUTs once, and every camera it recognises is corrected on the monitor.
    • Fix a clip filmed sideways with one click, and choose for each angle whether it fills the frame.
    • Give locked-off angles a slow push in or pull out, exported as keyframes with the edit.
    Picture options
    Program monitor S-Log3 REC.709
    S-LOG3 REC.709 VIEW

    Drag across the picture. A preview only: the file, the proxies and the export are never touched.

    AUDIO

    Room mics and the desk feed, ready to mix.

    The room sounds different from every camera position. The mixer brings it together, and the export is bounced through the same mix you hear.

    • A channel strip per source: fader, pan, mute, solo and meters.
    • Track delay with AUTO, which finds the delay where a room mic and the desk feed sum loudest.
    • A one-dial compressor, auto-level towards −14 LUFS, auto-duck under the desk feed, and a brickwall limiter on the master.
    • Load your own VST3 plug-ins on any track.
    • A live spectrum, and momentary and short-term loudness to EBU R128.
    The mixer

    DELIVER

    An edit that is already finished.

    Open the result in the editor you already use: every clip in place, every marker set, every camera on its own track.

    • A Premiere Pro project with the full multicam master, every source placed to the sample, plus the cut and 9:16 and 4:5 versions of it ready to reframe.
    • Or one universal sequence with the whole mix rendered to WAV, for Premiere Pro or DaVinci Resolve.
    • Drops, sections, moments, and phrase, bar or beat markers come along.
    • Each camera keeps its own frame rate, and still lands frame-exact.
    Delivering

    Two promises that come before every feature.

    Visible and overridable

    Every decision is yours.

    Nobody should have to accept an 80% edit just because it was faster. Every choice BEATFORGE makes is shown to you, and every one of them can be overruled and undone: a sync offset, a bar line, a drop, a single cut.

    Local by design

    It runs entirely on your machine.

    The analysis, the grid and the cut all run locally, with no account to make and nothing uploaded. Your footage never leaves the drive it is on, and a set cuts as fast on a flight as it does at home.

    What it works with.

    The cameras and recorders a night is actually shot on, and the editors it ends up in.

    All formats
    System
    Windows and macOS. Everything runs locally.
    Video
    MP4, MOV and MXF, with H.264, H.265, ProRes or DNxHR. Mixed frame rates in one project.
    Audio
    WAV and BWF, FLAC, AIFF, MP3, AAC and M4A and more. Multitrack recorder files are grouped by take.
    Log footage
    S-Log3 and V-Log shown through a Rec.709 view. A .cube LUT for any other camera.
    Export
    Premiere Pro project (XML). Universal XML with the master mix as WAV, for Premiere Pro and DaVinci Resolve.
    Plug-ins
    VST3 on any audio track.
    Camera RAW
    Not yet. Transcode BRAW, R3D and other RAW formats to ProRes or DNxHR first; BEATFORGE tells you at import. More formats may follow.

    Questions.

    Does BEATFORGE upload my footage?

    No. The analysis, the grid and the cut all run on your computer, with no account and nothing sent anywhere. Your files are read where they are and never changed.

    Which editing software does it work with?

    It writes a Premiere Pro project with the multicam master, the cut and vertical versions of it. It can also write one universal sequence with the whole mix rendered to WAV, which opens in Premiere Pro and DaVinci Resolve.

    Do my cameras need timecode?

    No. Sync works from the sound each camera recorded. Where a camera did write timecode, BEATFORGE uses it as extra evidence, to place takes the sound alone could not, and to measure how far that camera stood from the PA.

    Can I mix cameras and frame rates?

    Yes. Cinema cameras, action cameras, phones and audio recorders sit in one project. Each camera keeps its own frame rate, and the exported edit still lands frame-exact.

    What happens when the tempo changes?

    The grid follows the tempo through the whole night, including drifts and step-ups. Where a new record starts off the count, you put bar one there with one click, and it holds through every re-analysis.

    How much of the automatic cut can I change?

    All of it. Reroll any stretch with different settings, drag cut points on the beat, split, join and lock shots, or record the edit yourself on the multicam switcher. Every change can be undone.

    Does it run on Mac and PC?

    Yes. BEATFORGE is built for Windows and macOS.

    Put a night of footage on the grid.

    Start with the manual: your first edit, from an empty project to a delivered timeline, takes ten steps.

    Your first edit Coming soon for Windows and macOS