Syncitol resolves each clip's record-start time from the best available source — the media's embedded creation time / timecode, read directly by the bundled FFmpeg decoder. If a file carries none, it falls back to the file modification date minus the clip's duration. Every clip is then placed on a new timeline so the gaps between recordings match real clock time, and the audio is fine-aligned by waveform.

No external install required — the FFmpeg audio decoder ships inside the plugin. The Detected Clips table tags each row meta (embedded metadata) or mtime (file date). On the mtime fallback, preserve file dates when copying media — if the OS updates mtime on copy the sync will be off.

Audio envelopes are cached on disk, so re-running a sync on unchanged media is much faster. When Premiere's own waveform cache (.pek peak files) covers the media, the coarse alignment reads it directly — milliseconds instead of minutes, no audio decoding.

One click runs the whole pipeline hands-off: scan → build sync sequence → align (coarse whole-track + fine per-clip). Make your original sequence active first (not an already-built -SYNC — Auto Sync refuses those), then click Auto Sync. It stops with a clear message if a step can't proceed, and a ✕ Cancel button next to the spinner stops long audio scans at any time. When it finishes, the Sync Results table shows each track and clip's shift, the signal it matched on, and a confidence score.

Auto Sync aligns audio in two automatic phases. The coarse pass shifts each whole track to correct minute-scale clock offsets between devices. The fine pass then polishes every clip's position within ±5s via audio waveform cross-correlation, using an auto-picked reference track (the one with the most recorded coverage, on any track). Only corrections larger than 20 ms are applied.

After Auto Sync, ↩ Revert (in Sync Results) undoes exactly the shifts the fine pass applied. On overlaps longer than 10 minutes the panel also checks for clock drift — devices whose clocks run at different rates — and warns with the measured drift (a single offset can't fix both ends; split long clips before syncing if flagged).