Turning hundreds of hours of interviews into a better cut, faster.
Fieldhouse Media produces documentary and unscripted content for global broadcasters and streaming platforms. With tight post-production timelines and 30–100+ hours of interview footage per project, they rebuilt their workflow around searchable, editable transcripts.
Interviews sit at the center of every Fieldhouse Media project — but for years, turning hours of footage into a usable story meant scrubbing, note-taking, and rewatching. Sonix changed that.
Fieldhouse Media is a film and TV production company founded in 2016, with about 40 people across production, editorial, and post. Their projects are interview-heavy and evolve quickly as stories take shape. On a typical project, the team is working with 30–100+ hours of interview footage, multiple producers and editors contributing at different stages, and frequent iteration. As their slate grew, post-production — not shooting — became what slowed them down.
The difference wasn't just speed. It was that everyone was finally working from the same version of the truth.
Interviews were everywhere, but insight was hard to find.
Before Sonix, transcripts came back days after shoots, editors hunted for moments by scrubbing footage, producers kept their own notes and selects, and finding a specific answer often meant rewatching entire interviews. The team was spending too much time searching and not enough time shaping the story. Post-production — not shooting — had become the bottleneck.
Turn every interview into working material, not just reference.
Sonix fit cleanly into how the team already worked. Producers upload interview footage the moment a shoot wraps and get accurate time-coded transcripts in minutes. They search across every interview in a project at once — by phrase, topic, subject, or shoot day — and share a single source of truth across producers, editors, and post. Importantly, Sonix supports both early story development and downstream editing, which is exactly where Fieldhouse Media felt the most friction.
Faster turnarounds, clearer intent, and an archive that compounds.
Fieldhouse Media now turns around interview-heavy projects about 40% faster. Editors start with clearer intent, collaboration holds up across distributed teams, and subtitles are handled earlier instead of last-minute. Rework and outsourced transcription costs are down. Over time, past interviews have become a searchable archive the team reuses for future projects, research, and creative inspiration.
Sonix completely changed how we work with interviews. What used to take days now takes hours — and nothing gets lost.
How the team rebuilt unscripted post around transcripts.
How does Fieldhouse Media use Sonix right after a shoot?
As soon as interviews wrap, producers upload footage to Sonix. Transcripts are ready in minutes, so story work starts immediately instead of waiting days. The team can begin shaping a project the same day the shoot ends.
How does searching across all footage change story development?
Instead of opening interviews one by one, producers search across the entire project at once. A single query surfaces every moment a phrase, topic, or name appears — across subjects, shoot days, and locations. That makes it easy to compare answers, track themes, and surface key moments without relying on memory or scattered notes.
How do producers edit interviews in text before going into Premiere?
Producers start by editing down the transcript itself — cutting tangents, selecting the strongest responses, and shaping a tight selects version. That step alone saves hours, because refining content by reading is much faster than scrubbing through footage.
How does Sonix plug into the edit in Adobe Premiere Pro?
Once transcript edits are done, they're brought into Adobe Premiere Pro as a non-destructive guide. Editors jump straight to exact moments, pull selects quickly, and assemble initial cuts without altering original media. The creative process stays flexible while early edits get dramatically faster.
How does Fieldhouse Media handle subtitles?
The team uses the Sonix Subtitle Editor to generate subtitles early, clean up phrasing, adjust timing, and make sure everything reads well. That simplifies accessibility, international delivery, and social media cuts — without extra tools or last-minute scrambles.
How has Sonix changed long-term collaboration?
Because producers and editors reference the same transcripts and selects, handoffs are cleaner and meetings focus on creative decisions instead of hunting for footage. Over time, past interviews turn into a searchable archive the team reuses — as one editor put it, "we stopped reinventing the wheel on every project."
What changed for the post-production team.
Immediate post-shoot access
Transcripts are ready in minutes, so story work starts the same day the shoot wraps — no more waiting days for footage to become usable.
Project-wide search
Search across every interview in a project at once to find any phrase, topic, or name — across subjects, shoot days, and locations.
Transcript-first editing
Shape the story in text first, then bring transcript edits into Adobe Premiere Pro as a non-destructive guide to pull selects and assemble cuts quickly.
Subtitles earlier, not last-minute
Generate, clean up, and time subtitles in Sonix — turning accessibility, international delivery, and social cuts into an upstream step, not a scramble.
Find the story faster, like Fieldhouse Media.
From documentaries to unscripted series, Sonix helps production teams find the story faster and get to a better cut sooner. Start your free trial and see what your interviews can really do.
