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www.postmagazine.com 2 POST MAR/APR 2026 EDITOR'S NOTE recently had the chance to speak with Mark Fischbach for a Post podcast, who is perhaps better known by his 38 million YouTube followers as Markiplier. His channel is well known for its Five Nights at Freddy's, Resident Evil, adventures and animated videos, but recently Markiplier ventured into long-form theatrical content with the release of Iron Lung back in January, which he wrote, directed and stars in. Our conversation — which you can check out on Post's YouTube channel — touched on a number of topics, including his growth as a content creator, and how his post pipeline has evolved. His early work was edited in Adobe Premiere, but more recently, he's been using Blackmagic Design's DaVinci Resolve. He didn't hold back on the frustrations he faced with Premiere and how much happier he is now using Resolve. In addition to the interview appearing on Post's YouTube channel, snippets were also shared to Facebook and Instagram. One short garnered more than 120K views, 12K likes and 1,500 shares, with many viewers commenting on their own experiences with nonlinear editing software. For some, Fischbach's stamp of approval was enough to get them to give Resolve a try. That's a pretty good example of what an "influencer" is capable of. Others raved about what they've been able to create using Resolve, its one-time purchase price and how it can be a very competitive alternative to Premiere. Many pointed to the Adobe subscription model as a drawback, and others weren't happy with how aggressively the company is supporting the integration of artificial intelligence into its tools. Right or wrong, there's a perception among some readers that AI is ultimately harmful to the industry and creators as a whole. In my role here at Post, I've been able to closely follow Adobe's AI efforts and always felt they were both aware and respectful of these perceived threats. The AI tools that they've already made available are incredibly powerful, particularly for creatives that are handling multiple aspects of the process, including editing, graphics and sound design. Somewhere in the discussion, another commenter pointed out that the debate was almost entirely between these two applications, and how Avid wasn't included. This generated addi- tional commentary, but one post that stuck out mentioned the idea that Avid was essentially dubbed the industry standard by older, out-of-touch editors, and that the younger genera- tion of creators see things differently. Avid's merits are well-known to those with any history in the industry. They've been hon- ored by both the National Academy of Television Arts & Sciences (Emmys) and the Academy of Motion Picture Arts and Sciences (Oscars) for tools that include Media Composer, Film Composer and Pro Tools. In fact, right after the Oscars were presented in March, the com- pany made a point of sharing some interesting statistics when it comes to the highest level of filmmaking. At the 98 th annual Academy Awards, 87 percent of the winning productions were crafted using Avid tools, including One Battle After Another, which won Best Picture and Film Editing; F1, which took home the Oscar for Sound; and KPop Demon Hunters, which won the Animated Feature category, among others. Mark Hermida, who served as co-editor on Riot Woman — this month's Cover Story — mentioned how reliable Avid's tools are for the complex television workflows he finds himself involved in. "The thing it gives you is stability," he says of Media Composer. "It's great for the creative. It does everything I want it to do." He points to an Amazon Prime show called The Wheel of Time that he worked on as one of the series' seven editors, along with 10 assistants. "Media Composer is just such a tank. It can hold up to that many ins and outs, and it can deal with that amount of media. It's very stable, so that's why it's always used in big productions." You can read more about Riot Woman on page 14, and be sure to visit Post's YouTube channel to see if you agree with Mark Fischbach about the changing world of NLE software. We'd love to hear your thoughts! BY MARC LOFTUS EDITOR-IN-CHIEF MLOFTUS@ POSTMAGAZINE.COM I THE GREAT (NLE) DEBATE SEE US ON EDITORIAL MARC LOFTUS Editor-In-Chief Post Publishing, LLC 516.376.1087 mloftus@postmagazine.com KENDRA RUCZAK Managing Editor Post Publishing, LLC/CGW kruczak@cgw.com CONTRIBUTOR IAIN BLAIR Film & TV DESIGN MICHELLE VILLAS Senior Art Director michelle@moontidemedia.com ADVERTISING MARI KOHN Director of Sales Print, Digital and Awards 818.291.1153 cell 818.472.1491 mkohn@postmagazine.com WILLIAM R. 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