Author: andrew

Front Sequence Set-up

Download the Extras folder, which is located on frame.io inside the D1 folder.

In Media Composer, change the sequence starting time to 00:59:00:00.

Control-click on the Program Monitor – Sequence Report.

Import / link to the Bars and Tone video and add it to the timeline. It should run for exactly 30 seconds.

Add a 30-second slate with the title tool that includes: the title of the film; the names of the creative team; and the TRT of the film. Note: the TRT starts at the first frame of FSU leader and ends at the final frame of the copyright.

Import / link to the countdown and add it to timeline. This should run for exactly 8 seconds.

Import / link to the FSU Leader and add it to timeline. This should also run for 8 seconds.

Aspect Ratio Correction

The aspect ratio of the RED camera is 17:9 (1.90:1). Since we edit in a 16:9 (1.78:1) workspace, Media Composer will squish the image to meet that ratio. Taking the following steps will correct for this.

Go to your synced clips bin and select all the clips.

Right-click and select “Source Settings…” in the drop down menu.

In the FrameFlex tab, set Reformat to “Letterbox / Pillarbox”. Click “Apply to all” and then “OK”.

Your footage should now be presented in the correct aspect ratio. The black bars at the top and bottom are normal and intended for the RED Camera’s aspect ratio. (You may need to refresh your sequence if the change does not show immediately.)

After this process is done, if you wish to change the aspect ratio to one of the other approved aspect ratios, you can apply one of the masks from the frame.io folder.

Turnover to Sound (ProTools)

Click File > Output > Export to File.

Use Export setting “Export to Pro Tools”.

Click on “Options” button.

Make sure your Video/Data Details settings are the same as the picture below.

Click on the Audio Details tab and make sure your settings are the same as the picture below.

Click save after you have confirmed that all of the selections match these pictures.

Save your AAF.

You should wind up with a folder that looks like the one below. Upload this folder, including all the contents, to frame.io.

Open your provided ProTools template file, located on frame.io.

Import your new AAF file into ProTools by navigating to File > Import > Sessions Data…

Confirm that all of the “Import Session Data” selections match the picture below.

Documentary Equipment Approval

Production Paperwork

Instructions

This form must be completed and submitted to the Head of Production (Tony Ciarlariello) before a show’s greenlight meeting. The purpose of the form is to ensure that there’s a plan in place for all equipment use out in the field and to ensure that any personal gear is suitable for production.

Equipment Transportation Plan

This section is document where production will occur and the means of transportation for all school equipment. Note that the EVA1 camera and batteries cannot be checked if traveling by air and must be brought on the plane as carry-on luggage. Be prepared to any questions about the specifics of the transportation plan at the greenlight meeting.

Equipment Back-up Plan

Provide a plan for how you will continue with production if the EVA1 camera or any other essential equipment goes down while you are out in the field. This may include use of personal equipment to complete the project or, if local to Tallahassee, working with the ER to get equipment replaced or repaired. Note that the ER will not typically be able to mail equipment to another city if the show is outside the school’d studio zone.

Personal Equipment

In order to maintain consistency of image fidelity and to serve the learning outcomes of the project, the EVA1 camera should always be used as the primary camera for production. There are instances, however, where productions may wish to use a personal camera (e.g., as a b-camera or for shots that cannot be executed with the EVA1) or other, supplemental, personal equipment. Use this section to provide make/model/specs of any personal gear and an brief explanation of why this gear is needed for the film. Pay particular attention to personal camera specs to make sure that the captured media is compatible with the post-production workflow.

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.

RED Camera Settings (D1)

Format

  • Resolution: 7K
    • This refers to the amount of the sensor that will be used, not necessarily the resolution of the file being recorded. The 7K resolution ensures that our lenses will project properly onto the sensor.
  • Aspect Ratio: FF
    • The aspect ratio needs to be set to FF (Full Frame). This refers to the aspect ratio of the above resolution, and FF ensures that the recorded file will be 2K (2048×1080).

Codec

  • Record File Format: Avid DNxHD/HR
    • This file format is optimized for the post-production workflows using AVID Media Composer that we us for the D1 projects.
  • Resolution: 2K
    • This refers to the resolution of the recorded file. When you select 2K, confirm that the dimensions are listed as 2048×1080. If the dimensions are listed as something different, check to make sure that the aspect ratio (see above) is set to FF.
  • Video Codec: Avid DNxHD/HR SQ
    • This provides s a good balance of quality and size. Pay particular attention to this setting, as your footage make be unusable if you do not set this correctly.
  • Baked-In Settings: Rec. 709/SDR
    • This ensures that the video file will be recorded with a 709 gamma curve that will yield a pleasing picture on everyone’s monitoring environment without much trouble.

Image Pipeline

  • Mode: IPP2
    • This is RED’s latest, recommended color pipeline.
  • Output Color Space: Rec. 709
    Output Tone Map: Medium Contrast
    Highlight Roll-Off: Medium
    • These Output Transforms convert the RED WideGamutRGB/Log3G10 image into a Rec .709 image that will be easier to work with and will appear correct to your eyes.
  • Output Summary
    • The output summary should appear as above. This is to confirm that the camera will not be recording a R3D file, but an Avid DNxHD/HR SQ file in Rec. 709.

Frame Guide

  • Mode: 1.85:1
    • The frame guide mode should be set to 1.85:1 unless you are framing for one of the other approved aspect ratios (2.39:1 Scope or 1.375:1 Academy). The frame guides ensure that — while you are recording into a 2K 2048×1080 container, which has an aspect ratio of 1.90:1 — you are actually framing for one of the approved aspect ratios.

Media Card Format

  • File System: UDF
    • The Camera Assistant should check that the RED MAG media card is set to UDF before formatting the card.
  • Reel Number
    • The Reel Number should be reset to “1” at the beginning of each show and then versioned up with every RED MAG change.

F3 Specs

Live ActionAnimation

Writing specs

Page count:6 pages
Quantity of locations:As you write, plan for shooting at no more than two physical locations (one per shooting day).
Quantity of characters:No restrictions, but but be mindful of COVID safety concerns for actors.
Children:Yes
Animals:Yes
Weapons:Yes
Visual effects:Yes – but be mindful that there will only be a couple of weeks for visual effects in the schedule, so keep the scope in check.
Sexual intimacy:Yes – but an intimacy coordinator may be required for certain scenes.
COVID restrictions:No blanket restrictions on writing, but be mindful of tips for writing during a pandemic and a COVID script breakdown will be required on an early draft to anticipate safety concerns.

Production specs

Locations per day:1 location per day
Distance to locations:Must be within the studio zone
Shooting days:2 days
Pick-up days:No
Length of workday:12 hours, plus an hour for lunch
Earliest call time:6:00AM
Latest wrap time:12:00PM
FIST agreement:Yes
COVID protocols:Yes

Data allocation

Final page count:6 pages
Shooting days:2 days
Pages per day:3 pages
Shooting ratio:20:1
Max. dailies per day:60 minutes
Data rate:2.4 GB/minute
Max. data per page:48 GB
Max. data per day:144 GB

Capture settings

Camera package:RED
Frame rate:24.000 fps
Record file format:ProRes 4444 HQ
Resolution:2K (2048×1080)
Video codec:ProRes 4444 HQ
Baked-in settings:All image settings (Rec. 709 / SDR)
Mode:IPP2
Output color space:Rec. 709
Output tone map:Medium Contrast
Highlight roll-off:Medium

Picture Edit specs

Pic edit location:Post Hall
Pic edit software:Media Composer
Pic edit days:7 days
Max. story content:6:30
Max. credits:1:00
Max. TRT:7:30

Sound specs

Sound design location:Post Hall
Sound design software:ProTools
Sound design days:7 days
Sound mix:3 hours

Visual Effects specs

VFX software:Variable
VFX days:Variable — with a maximum of two weeks for each show

Coloring specs

Coloring software:DaVinci Resolve
Coloring days:1 day

Project Specs

Page count:0.5 page
Previz duration:24 seconds
Max. number of assets:4 assets
Max. number of characters:1 character
Max. number of shots:16 shots
Max. seconds of motion:30 seconds
Final content duration:30 seconds
Credits duration:30 seconds
Final TRT:60 seconds

DVD Wrap Template

Instructions

This is the official DVD wrap template to be used in the creation of marketing materials for FSUFILM productions. Use it as your foundation for making something beautiful and compelling!

Do:

  • Make sure to install the Steel Tongs font on your computer before starting work on the wrap. This is the font for the credit block.
  • Keep all of your layers inside the appropriate folders, so that everything remains well-organized when you deliver the final Photoshop file. Make sure all of your layers have appropriate names, so that someone else could make sense of what each layer is.
  • Take your artwork all the way to the edge of the frame. The red guide is where the wrap will be cut after printing. Keep any essential elements within the green guide, in case they are trimmed during printing. Be sure to hide the guide layer before exporting the finished wrap.
  • Adjust the color of the credits, logos, and copyright to best fit the aesthetic of your wrap concept. Be particularly mindful of the legibility of the credit block, as it can quickly become hard to read if the background is busy or if there’s not enough tonal separation between the credits and the background.

Don’t:

  • Do not adjust the dimensions or resolution of the file. It’s set up to meet the specs needed for printing.
  • Do not reposition or resize the FSU seal or FSUFILM logos.

DVD Disc Template

Instructions

This is the official DVD disc art template to be used in the creation of marketing materials for FSUFILM productions. Use it as your foundation for making something beautiful and compelling!

Do:

  • Keep all of your layers inside the appropriate folders, so that everything remains well-organized when you deliver the final Photoshop file. Make sure all of your layers have appropriate names, so that someone else could make sense of what each layer is.
  • Take your artwork all the way to the edge of the frame. The red guide is where the art will be cut. Keep any essential elements within the green guide, in case they are trimmed. Be sure to hide the guide layer before exporting the finished art.
  • Adjust the color of the elements to best fit the aesthetic of your disc art concept. Be mindful of the legibility of any text, as it can quickly become hard to read if the background is busy or if there’s not enough tonal separation between the text and the background.

Don’t:

  • Do not adjust the dimensions or resolution of the file. It’s set up to meet the specs needed for printing.
  • Do not reposition or resize the copyright, FSU seal, or FSUFILM logo.