How to sync DJI Mic 2 internal recordings to your video on a Mac

Turning on internal recording is the best habit a DJI Mic 2 owner can have. The receiver feeds your camera live, but if the signal drops for a second — a body in the way, a crowded 2.4 GHz band, walking too far — that glitch is baked into the video’s audio. The transmitter’s own recording doesn’t care: it’s written right there on the mic, clean.

The catch comes later. You now have a video with the camera’s copy of the audio and a separate WAV with the good copy, and they don’t start at the same moment. Here’s how to put them together.

Where the recordings are

Each DJI Mic 2 transmitter has 8 GB of storage — about 14 hours of 48 kHz / 24-bit audio, or about 11 hours with 32-bit float turned on. To get the files off:

1. Connect the transmitter (not the receiver) to your Mac with a USB-C cable.
2. It shows up as a drive. The recordings are WAV files in a DJI_Audio_… folder.
3. Copy them next to your video files.

Two things that surprise people:

• Long takes are split. The transmitter starts a new file every 30 minutes, or every 23 minutes with 32-bit float on. An hour of talking becomes two or three WAVs.
• Each transmitter records its own files. With two people mic’d, you get two sets of recordings, one per transmitter.

The manual way

In Final Cut Pro, Premiere Pro or DaVinci Resolve you can select the clip and the WAV and run the editor’s “synchronize by audio waveform” command. It works, but it means importing everything into a project, syncing clip by clip, muting the camera track, and exporting. That’s a lot of steps when all you wanted was a video with better sound — especially if you edit in CapCut or on your phone, or you’re not editing at all.

You can also line it up by ear: drag the WAV against the camera audio until the waveforms match and the voice stops sounding doubled. Fine for one clip, tedious for twenty.

The quick way with SyncCut

SyncCut is a small Mac app that does only this job.

1. Drop in the video and the WAV. SyncCut compares the recording against the camera’s own audio and finds the offset — about a second, even for an hour-long recording.
2. Check it. Preview the result live. If you want it exact, drag the audio along the waveform or nudge it in 10 ms steps.
3. Export. The video is passed through without re-encoding whenever possible, so there’s no quality loss and export is fast. Because the recording is a WAV, SyncCut saves a MOV by default — MP4 can’t carry uncompressed audio in a way most players can read. The result is exactly as long as the video, and you can keep the camera’s audio underneath if you like.

The DJI setup is close to ideal for automatic sync: the camera’s audio is the same mic, just sent over the air, so the two waveforms match almost perfectly — dropouts and all.

A whole day of clips

A typical vlog day is dozens of short clips and a few long WAVs. Use Batch Sync: drop in all the clips and all the recordings at once. SyncCut matches each clip to the recording that fits it best, flags weak matches so you can check them, and exports everything to a folder. Because it matches by content, you don’t need to work out which of the split WAVs belongs to which clip.

Tips

• Keep the receiver plugged into the camera. Automatic sync needs the camera to record some audio to match against. If the camera records no sound at all, you can still line it up by hand in SyncCut, but it’s slower.
• Use 32-bit float if you shout and whisper. It keeps loud moments from clipping. The files are bigger and the split comes sooner, but the workflow is the same.
• Your footage stays on your Mac. SyncCut works offline; nothing is uploaded.

SyncCut is coming soon to the Mac App Store and requires macOS 26 or later. Details are on the SyncCut page.