Built on Beta Feedback
Before we walk through the product, a quick note on how we got here.
fPost has been in closed beta with a group of re-recording mixers, dialogue editors, and sound supervisors across the US and Europe. They tested it on real sessions, real AAFs, real deadlines. They told us exactly what broke, what was missing, and what needed to work differently before they could use this in production.
We took that seriously. This version of fPost reflects direct feedback from that process.
Here is what changed based on what beta testers reported:
Timecode and sync. The most critical issue in the early beta was clips landing at incorrect positions in the session. Timecode handling has been completely overhauled. fPost now reads start TC directly from the AAF and builds the session from that reference point, not from zero.
Stereo interleaving, per category. Split mono pairs, the kind Adobe Premiere AAFs produce consistently, are now detected and re-interleaved automatically. This is applied per category, so speech, music, and SFX pairs are handled independently and placed correctly.
Pro Tools session handling from Media Composer. Avid Media Composer sessions are now handled correctly across the PTX workflow. The parsing issues that caused misclassification or incomplete imports with Media Composer-originated material are resolved.
Recognition quality, across the board. The classification engine went through multiple rounds of improvement based on cases that testers flagged: production dialogue tagged as SFX, music clips missed in Resolve AAFs, clips with ambiguous spectrograms. Classification is now significantly more reliable across all three categories.
Solo and mute in the visualizer. Beta testers were clear: without the ability to audition clips before sending to Pro Tools, they could not trust the classification. Solo and mute controls are now in the visualizer.
Clip movement, simplified. The process of moving clips during the organize workflow was too slow and too fragile on sessions with large numbers of clips. The movement logic has been rearchitected to be faster and more stable.
Audio device settings and output monitoring. You can now configure your audio output device inside fPost and monitor directly from the visualizer. This removes the round-trip to Pro Tools just to check whether a clip sounds like what it was classified as.
This is not a complete list. Every release from here follows the same pattern: we listen to the people using fPost on real work, and we fix what they tell us is in the way.
If you are in the beta and something is still wrong, we want to hear it. If you are not in the beta yet, the link at the bottom of this post is where to start.
What You Just Watched
If you work in audio post, you already know the problem. An AAF arrives from picture editorial, or a PTX session lands in your inbox, and before any real work can begin, someone has to spend an hour or two making it usable. Tracks unnamed, content scattered, nothing matching the facility template.
fPost is built to fix that. In the video above, Simone walks through the full workflow: both the AAF import path and the PTX organization path, from the first click to a clean, template-matched Pro Tools session.
This post covers what you're seeing in the video, section by section, so nothing gets lost.
Two Workflows, One Tool
fPost handles the two most common prep scenarios in audio post production.
The first is AAF import: you receive a file from picture editorial, from Avid, Premiere, or DaVinci, and need to get it into Pro Tools in a usable state. The second is PTX session organization: you already have a Pro Tools session, but it's disorganized and needs to be restructured before real work can begin.
Both workflows run through the same core engine. The entry point is different. The output is the same: a session organized by category, matched to your template, ready to work.
The AAF Workflow
Importing the file
You click Import File, select your AAF, and fPost immediately extracts the key metadata: sample rate, bit depth, source NLE, and everything it needs to understand what it's working with. If your AAF came from Adobe Premiere, which has its own stereo/mono export behavior, fPost flags that before you go any further.
The visualizer
Before anything is sent to Pro Tools, you get a full view of what's inside the AAF. Every clip is visible on a timeline. You can play clips, solo and mute tracks, zoom horizontally and vertically, move clips around, select clips and loop them if you want to listen more carefully. You understand what you have before you commit to anything.
This is the feature that didn't exist before. There was no way to inspect an AAF before importing it. You discovered problems only after the fact, when fixing them had already cost time.
AI clip classification
Every clip in the AAF is classified by fPost's AI — not at the track level, but at the clip level. A single track that has music in the first half and sound effects in the second half gets split into the correct categories automatically. The classification works on what the audio actually is, not on what the track was labeled.
Colors in the visualizer reflect the classification: red for speech, blue for music, and so on. If you want to adjust the color scheme, naming logic, or recognition behavior, the settings cog is right there.
Template matching and settings
Before moving to Pro Tools, you configure how fPost should handle the import. You can load a PTX template and map your classified categories — speech, music, sound effects — to specific template tracks. fPost will duplicate those tracks as needed and place all matching clips into the right locations.
Mono/stereo handling is set here too. When enabled, all split mono pairs, the kind Premiere exports produce, are automatically re-interleaved into proper stereo. You can also set naming style, color style, and output destination.
Other options include creating a backup copy of the original AAF, showing the video reference in the visualizer, and adjusting output paths. All keyboard shortcuts are accessible here.
Import to Pro Tools
When you click Next, you choose whether to bring everything into the current session or open an existing one. Import Session Data settings are remembered from the last session, so you don't reconfigure them every time. Timecode start is set here — in the video, it's set to one hour.
Click Import. Pro Tools opens. fPost moves every classified clip into the correct template track, duplicating tracks as needed, following the same order you saw in the visualizer. Speech to the speech template, sound effects to the SFX template. The session that opens in Pro Tools matches what you saw before you imported anything.
From AAF to a color-coded, template-matched, organized Pro Tools session in under a minute.
The PTX Workflow
The second workflow starts from inside Pro Tools. You open an existing session, one that's messy, disorganized, built by someone else under deadline pressure, or assembled without a consistent structure. You want it organized.
You select that session in fPost and it reads it immediately. The tracks are displayed, classified, and categorized in the same visualizer you saw in the AAF workflow. A session that was unreadable a moment ago now has its content sorted by type — speech, music, effects — visible at a glance.
From there, everything is identical to the AAF workflow. You use Match Template, set your categories, configure mono/stereo handling, and click Organize. fPost restructures the session automatically. Clips moved, tracks organized, everything placed where it belongs.
The session you hand to a mixer or dialogue editor looks like it was built that way from the start.
Why This Matters
The time cost of AAF and PTX prep is real and consistent. Professionals across film, TV, broadcast, and commercial work, from independent mixers to large facilities, describe the same thing: one to three hours of mechanical, repetitive work at the start of every project, before any creative decision is made.
That work is invisible to clients. It doesn't get scheduled. It doesn't get budgeted. It just happens, every time, absorbed by the person who opened the session.
fPost removes it.
Try fPost
fPost Studio is available now. If you're working in audio post and want to see what this looks like on your own sessions, the link below is where to start.
Frequently Asked Questions
What is fPost Studio?
fPost is a session prep tool from Forte AI for audio post production professionals. It connects to Pro Tools, reads AAF or PTX session structures, classifies audio content at the clip level using AI, and organizes the session to match your facility template.
What does fPost automate?
fPost handles everything between a raw AAF import or PTX handoff and a usable session: clip classification, track naming, template matching, stereo/mono re-interleaving, routing, and organizational structure. What normally takes one to three hours happens in under a minute.
What is the AAF visualizer?
The visualizer is fPost's pre-import inspection tool. It shows you every clip in an AAF on a timeline before anything touches Pro Tools. You can play, solo, mute, zoom, loop, and move clips. It's the view of what's inside your delivery before you commit to importing it.
How does AI clip classification work?
fPost classifies audio at the clip level, not the track level. A single track with mixed content, speech at the start, music in the middle, effects at the end, gets split into the correct categories automatically. The classification is based on what the audio actually is, not what the track was labeled.
What is the PTX workflow?
The PTX workflow lets you organize an existing, disorganized Pro Tools session. fPost reads the session, classifies its content in the same visualizer used for AAF import, and restructures it to match your template. The same settings, template matching, mono/stereo handling, naming and color, apply to both workflows.
What happens to Premiere AAF exports?
Adobe Premiere exports mono and stereo content on the same track, which creates split mono pairs in Pro Tools. fPost detects these automatically and re-interleaves them into proper stereo when the mono/stereo option is enabled.
Which DAW does fPost support?
fPost currently works with Pro Tools.
Who is fPost built for?
Re-recording mixers, dialogue editors, sound supervisors, and anyone managing the handoff from picture editorial to audio post, in film, TV, broadcast, commercial, and games.
