Assistant Editor Workflow (F3)

Overview

Synching is to be performed by the Assistant Editor (AE) on an assigned machine in the post hall. Look to the crew grid for the location and time.  The key tasks are to:

  • Import media into Premiere
  • Synchronize clips
  • Organize media in Premiere
  • Build, export, and review dailies sequences
  • Compile the Editor’s notebook

Media

Your Video and Audio files will already be copied to your machines local Media drive.

The audio will be saved here.

Audio – 2019_F3_Audio – Show – Production_Audio

The video will be saved here.

Video – 2019_F3_Editorial – Show

Premiere Project

The Premiere project also lives locally. It can be found by going to the Projects shortcuts on the desktop.

Projects – 2019_F3_Projects – Show

The bin structure is already setup for you and must be maintained. 

Import the ProRes Quicktimes into the appropriate bin.

03_Footage – Production – Day

Import theWAV files into the appropriate bin.

02_Audio – Production – Day

Synchronize Clips

Use the “merge clips” command in Premiere to sync the audio and video together. To make this easier you should create a keyboard shortcut for the “merge clips” command.

Select “Keyboard Shortcuts” from the drop down.
Type “merge” in the spyglass window to find the “merge clip” command.
Set “control + m” for the shortcut.

Double-click on the first video clip to open it in the Source Panel. Make note of the setup and take numbers that are on the slate.

Scroll up to the Audio bin and find the corresponding audio files that are labelled with the same setup and take numbers. Each take will have between one to four separate .wav files depending on how many microphones were used on set. More than likely, each take will have three separate WAV files (boom, radio, radio).

Command-select all the corresponding video and audio clips. With all your assets for the take highlighted use hit “control + m” to use your shortcut for “merge clips”.

A window will appear asking how to merge them:

  • Name the merged clip after the setup and take number (e.g., 2A_1)
  • Set the Synchronize Point as “Timecode”
  • Check “Remove Audio from AV Clip”
  • Click “OK” 

The newly merged clip will appear in the project panel outside of any folder.Open the merged clip in the Source Panel and confirm that it’s correctly synchronized. You can check this by watching the clapper one frame at a time. If the sync is good, scroll to the footage bin and change the label color on the clip you just merged (to help you remember how many you have done).

If for some reason the sync is wrong delete the merged clip and start again. Most likely it’s a case of highlighting the wrong takes and trying to merge them. It’s also possible that the sound mixer accidentally mislabelled a sound file, which will take a little detective work to locate the correct file. 

If that does not work, then you will need to sync manually by setting in-points on the corresponding audio and video files (or out-points, if a shot was tail-slated).

Open the video clip in the Source Panel and set an in-point on the first frame when the sticks are together.

Open each of the corresponding audio files in the Source Panel and set an in-point on the first frame that you can hear the clapper.

Command-select all the corresponding video and audio clips. With all your assets for the take highlighted, use your shortcut for “merge clips”.

A window will appear asking how to merge them:

  • Name the merged clip after the setup and take number (e.g., 3A_1)
  • Set the Synchronize Point as “In Points”
  • Check “Remove Audio from AV Clip”
  • Click “OK”

To check the sync on a clip you merged manually, you will need to place it into a sequence and extend the head of the clip to get some pre-roll to the clapping sound. Once you have checked it for sync delete the clip from the sequence.

If the sync is still incorrect, seek help from the Post Staff.

If you come across a clip that was labelled “MOS” on the slate, it means there are no corresponding audio files to sync. Instead, you should right-click on the clip to duplicate it. Then, rename the duplicate version whatever it was slated, with a suffix of “_MOS” (e.g., 3B_1_MOS). Then, move the duplicate version out of the Production Footage bin, so that it is grouped with all the merged clips.

Organize media in Premiere

After everything has been synchronized successfully, move the merged clips into the appropriate Scene bins.

Then fill in a brief description for each clip. This should be able to be found on the paper camera reports. We are not looking for a sentence but rather shorthand that you can use while editing to help you find what you need quickly. Later you add comments.

Build the Dailies Sequence

Under01_Sequences – Dailies you will find the prebuilt dailies sequence. Assemble the dailies sequence from the scene folders. It should include all the footage shot for the entire show.

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

Since sound starts rolling before picture on set, you’ll notice that there’s excess audio media at the head (and sometimes also the tail) of each shot.

You’ll want the head and tail of each audio clip to line up with the head and tail of the video. To trim the audio, hold down Option and drag the head or tail of the audio track. The trimmed sequence should look like this.

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, export the sequence to Frame.io using these instructions. Upload to the appropriate Dailies folder in Frame.io and point the render to save locally in the shows export folder.    

Exports – 2019_F3_Exports – Show

Editor Notebook

The Dailies Screening Notes form has spaces for scene number, date shot, and daily reel as well as several spaces for shots with scene and take number information. While watching the exported dailies on Frame.io fill out the screening notes with each shot and take according to the slate. Within the space for an individual shot, please include the scene and take number as well as a brief technical description of the shot (ex: WS, MCU, Dolly into an ECU.)

If there are obvious technical flaws with the shot such as improper camera speed or poor focus please make a brief note of it. Leave enough space to record the Directors notes later. Hole punch all of the screening notes and assemble along with the camera and sound reports in a three ring binder. Label the outside with the show number and name.

Congratulation, you are done! Get ready to edit!