Problem
Platform exports are generated from different project revisions because the workflow lacks a locked source-master identifier, producing subtly inconsistent cuts across destinations.
Solution
Root Cause / Diagnostic:
Generating platform-specific cutdowns from unlinked local project duplicates across multiple editorial workstations introduces revision divergence. Without a locked Source Master ID, one editor exports a 9:16 cut from Revision 2 while another exports 1:1 square from Revision 4, releasing conflicting dialogue cuts and outdated sponsor disclaimers.
Actionable Fix:
1. Generate an immutable Source Master Identifier (e.g., SMID-2026-E102-LOCKED) tied to the final signed-off master sequence before repurposing begins.
2. Require every secondary editing project to link directly to the approved ProRes/DNxHR master file as its sole visual source rather than reopening draft editing timelines.
3. Embed the Source Master ID string into the metadata and burn-in slate of all derivative timelines during the editing phase.
Pro Tip:
Never cut social clips from raw multi-track project sequences; export a single high-bitrate ProRes 422 HQ master with split audio stems, and use that locked file as the universal source for all repurposing.
Generating platform-specific cutdowns from unlinked local project duplicates across multiple editorial workstations introduces revision divergence. Without a locked Source Master ID, one editor exports a 9:16 cut from Revision 2 while another exports 1:1 square from Revision 4, releasing conflicting dialogue cuts and outdated sponsor disclaimers.
Actionable Fix:
1. Generate an immutable Source Master Identifier (e.g., SMID-2026-E102-LOCKED) tied to the final signed-off master sequence before repurposing begins.
2. Require every secondary editing project to link directly to the approved ProRes/DNxHR master file as its sole visual source rather than reopening draft editing timelines.
3. Embed the Source Master ID string into the metadata and burn-in slate of all derivative timelines during the editing phase.
Pro Tip:
Never cut social clips from raw multi-track project sequences; export a single high-bitrate ProRes 422 HQ master with split audio stems, and use that locked file as the universal source for all repurposing.