Assistant Editing Workflow (MFA)

OFFLOAD MEDIA

At the end of each shooting day, the Assistant Editor (AE) will retrieve the RED Mini Mags (containing the video), the CF cards (containing the audio), and the camera reports. The media cards should be labelled with red tape, as shown below.

Make sure you remove all the red tape from the video and sound cards before inserting them in the card readers. Note that the RED Mini Mag can take 2 to 3 minutes to show up on the desktop.

IMPORT MEDIA INTO MEDIA COMPOSER

Open the Media Composer Project.

When setting up your project, make sure it’s 1920×1080 24p.

Keep the bin structure maintained as shown below.

Control-click on the 03_Footage > Production > Syncing bin and choose Input > Source Browser from the pop-up menu, then link to both video and audio.

Go into the Syncing bin and select all the clips. Make sure the link button to the left is selected and then press the link button in the button right corner.

Then select the production audio and press the link button in the button right corner.

Select 24 and click “Ok to All”.

SYNCHRONIZE CLIPS

The audio and video should now both be in the Syncing bin.

Select all of the audio and video, and choose AutoSync from the side menu.

Have the Source Timecode box selected.

Then everything that has the correct timecode will make a subclip. Anything that did not sync because the timecode was off will be highlighted and will need to be synced manually.

Here is an example where you can see the wild audio tracks and room tone are highlighted which makes sense as they would not create a subclip. While the clips are highlighted, set the clip color so you can identify them as clips with issues.

MANUAL SYNCING

For clips that need to be manually synchronized, first double-click on the video clip. Create an in-point on the video clip (by pressing “i”) on the frame where the clappers clack.

Make sure you have Audio Scrubbing turned on in the Toggle Digital Audio Scrub, which can be found on the Command Palettes > Play tab. The keyboard shortcut Command + 3 brings it up.

Play until you hear the clapper clack, and then use the arrow keys to move one frame at a time to find the exact frame where the clack starts. Add an in-point here.

Select both clips, then go to AutoSync and choose Inpoints.

Play back subclip to confirm it’s in sync.

If the clip is an MOS shot, rename the clip to what is on the slate and put it in the appropriate scene folder.

ORGANIZE MEDIA IN MEDIA COMPOSER

One everything is synchronized, the subclips will have the video clip name with “synced” at the end. You will need to rename the subclip to the appropriate scene and take number: e.g., 1A_1.

Never rename the video or sound files. Just subclips. An MOS shot is the only exception to this rule.

After everything has been synchronized successfully, move the production video and the production audio to the appropriate bins. To move the clips, open the bin and then drag the audio and video to the name of the tab of the open bin.

Move the wild lines and room tone clips to the production audio bin.

Manage ScriptE Data

Then you are ready to import the ScriptE data.

The first thing you will do is to open the clip bin file in a text editor and make sure it says 24. If it is set to anything else, change to 24.

Then, go to the end of the last line and add a space in order to have the last clip imported.

Save and close, then change the extension from .txt to .ale.

Import the ALE that ScriptE produced. In the bin with your subclips, go media import – ALE and click ok.

If you receive this error message click Ok.

Set the clip color so you can identify the ScriptE clips and be able to easily copy-and-paste data into fields later.

When the clips the ALE produces show up, they will be offline. Rename each subclip to the clip names based off the slate: 1A-1, etc…

Then control-click on the name and choose Sort on Column, Ascending. This will allow the clips to be lined up so you can copy-and-paste all script supervisor notes into the appropriate fields: script description, script comments, and script notes.

Save that bin view in order to pull up those fields in the future.

Save as ScriptE.

Once you are done you can trash the ScriptE clips and then move the merged subclips into the appropriate Scene bins.

BUILD THE DAILIES SEQUENCE

For each day of production, you will build a dailies sequence that includes all of the footage shot for that day, as well as a master dailies sequence that includes all the footage shot for the entire show.

Under 01_Sequences – Dailies you will find the prebuilt sequences.

Organize the merged clips in scene order (story order) and, within each scene, place the shots in the following order:

  1. Wide shots
  2. Medium shots
  3. Close-ups
  4. Inserts
  5. Charts

Use the Title Tool to make a 5-second slate to begin the dailies sequence, and fill it out as below.

EXPORTING THE DAILIES SEQUENCE

Once the dailies sequence is fully built, place in-points and out-points on the timeline to select the entire sequence. Then click File > Output > Export to File…

Save using the naming convention of show#_Dailies_Day_#.mov — e.g., 01D1_Dailies_Day_1.mov.

Set the correct folder path for the saved file and make sure the Export Setting is “Link to Audio and Video”.

Export as MOV with the following settings:

Preset:HD 1920×1080
Codec Family:H.264
Compression:H.264
Color Depth:8 bit
Target Bit Rate:10 Mbps

Hit save and then upload the exported file to the appropriate folder on frame.io.

WRAP UP

After the final day of production the AE should ensure that everything is sync and the Media Composer project is ready for editorial to begin. Save the Project and close it.

All of the sound and camera cards used in the production should be left on the desk of the assigned edit suite. The finished editors notebook should be left on the desk as well.