Author: Thomas Gast

Turnover Sound and Color

Export Reference Video

For both sound and color turnover you will need to export a Reference Video from Media Composer with the name of the project and timecode burnt in.

Mount your show volume and launch your Media Composer project. Open the”Locked “Sequences” bin. Select your locked sequence and hit Command+D to duplicate the sequence. Then rename the new sequence “Show#_Locked_Refernce_Video”.

Search the Effects Pallet for “Timecode” and you will find the TimeCode Burn in Generator.

Apple the effect to track “V6/Timecode Overlay”.

Using the Effects Editor set Display 1 to Timecode and Display 2 to Sequence Name.

Under the Appearance drop down menu set the font size to 40. Then use the Position X and Y controls to move the bun ins around. Place the Sequence name centered at the top of the screen and the Timecode centered at the bottom of the screen.

You are now ready to export the entire sequence as a quicktime reference video. Select in to out for the whole sequence and activate all tracks.

Then right click bin the record window and select “Export”.


Point the export to the “Video Reference” folder under “Sound” on your show volume. Then check that the name of the export will be correct. Finally select the “Reference Video” preset. Before exporting double check he preset by click “options” and make sure the settings are exactly as shown in the example below.

When the export is complete open it in quicktime player to make sure everything is okay. After confirming taht the Reference Video is good, copy and paste it into the “Reference “Video” folder under “Color” as well, so that it is in both places.

Export AAF for ProTools

Next you will need to export an AAF from Media Composer with all of your sound tracks so that they can be translated into ProTools. ProTools will use the exact same media in the Avid Media Files Folder as Media Composer does so the AAF only needs describe the audio tracks and tell ProTools where to look for the media.

Select your locked sequence again and hit Command+D to duplicate tit. Then rename the new sequence “Show#_Locked_Sound_Turnover”. Select in to out for the whole sequence and activate all tracks. Then right click the record window and select “Export”.

Point the export to the “AAF” folder under “Sound” on your show volume. Then check that the name of the export will be correct. Finally select the “Sound Turnover” preset. Before exporting double check the preset by click “options” and make sure the settings are exactly as shown in the example below.

When the AAF is done exporting Media Composer will automatically import it back into the “Locked Sequence” bin. If you open the sequence you will see that the AAF is only translating what is on the Audio tracks which is all ProTools will need.

Export AAF for Resolve

Next you will need to export an AAF from Media Composer with all of your picture tracks so that they can be translated into Davinci Resolve. Media Composer has been working with transcoded “Offline Media” but Resolve will “Online” back to the Original Camera Files (OCF). The AAF only needs describe the picture tracks in such a way that Resolve can link back to the Camera Originals.

Select your locked sequence again and hit Command+D to duplicate tit. Then rename the new sequence “Show#_Locked_Color_Turnover”. Select in to out for the whole sequence and activate all tracks. Then right click the record window and select “Export”.

Point the export to the “AAF” folder under “Color” on your show volume. Then check that the name of the export will be correct. Finally select the “Color Turnover” preset. Before exporting double check the preset by click “options” and make sure the settings are exactly as shown in the example below.

When the AAF is done exporting Media Composer will automatically import it back into the “Locked Sequence” bin. If you open the sequence you will see that the AAF is only translating what is on the picture tracks which is all Davinci Resolve will need.

Save and close Media Composer.

Conform in Davinci Resolve

On the Post Hall Davinci Resolve is a bit different from other applications like Media Composer or ProTools in that the project file always lives locally and not on the main CMPA Server or your show volume. The project will reference media that lives on the server but the project itself will always live locally. Because of this if you ever open a Resolve project from a location on the server it will copy that project locally and then open it.

On your show volume navigate to the “Resolve Template” project as shown in the the example below. Double click on the project and it will copy to your local machine and open.

The project will named whatever the template was originally named on our show volume. To change this go to “File” and then “Save Project As”. Rename the project “Show#_Conform”.

Davinci Resolve is made up of several “pages” which you can switch between by selecting them across the bottom of th screen. To begin with select “Media”.

The Media page has a section on top that will allow you to navigate through the finder to locate any media you would like to import in. Below that is the Media Pool which already has several folders made.

To import most things it’s as easy as draging from the finder down to an open folder in the Media Pool. The first thing to import are the credits and titles. These should be either DPX or PNG image sequences. Resolve will display the image sequence as a single file in the finder. Drag them into the media pool Credits folder as show below.

Next import all of the OCF into the media pool. Yes this mean importing everything taht was shoot for your show into the project. The easiest way to do this is to drag the folder with your show# OCF into the media pool. Doing so will import everything inside all the folders.

Next we need to import the “Reference Video” that was exported from Media Composer. However DO NOT drag it into the Media Pool.

It needs to be imported in a special way so that it can come into Resolve as an “Offline Reference Clip”. To do that first select the “Reference” folder in the media pool so that it is open. Then right click on the Reference Video and select “Add as Offline Reference Clip”. That will add it to the media pool but as a “Offline Reference Clip”.

Finally you will need to import the AAF that was exported from Media Composer to recreate your locked sequence in Resolve. Select the “Sequences” folder and then right click inside of it and select “Import AAF”.

In the window that appears navigate to the “Color” folder on your show volume and select the AAF file.

The “Load AAF” window will appear. Fill this out carefully paying attention to the example below. Change the timeline name to your show#_Conform. Change the starting timecode to 00:59:00:00. Make sure that the options pointed out below are either select or deselected as shown.

When you select okay a window will appear asking where in the project it should look for eh media the AAF is referencing. The correct box is already checked so simply click OK.

Next the sequence will load in Resolve and all of your Front Sequence, OCF, and Credits should all be linked. You will see a Log detailing if anything from the AAF was unable to be translated. Taking a picture of this is never a bad idea as it can help you later in the conform.

In the example below it simply says that the Avid Titler Tool used for the slate in the front sequence cannot be translated so taht will be left blank. It also say the 2DMatteKey used on the widescreen matte is not supported. And finally taht the Matte itself failed to link. None of these are a problem and are normal.

Since the Matte on video track 5 failed to import you can go ahead and delete. In a moment you will reapply it another way. To clean up some of the empty tracks in Resolve right click in the darker part of a track and select “Delete Empty Tracks”.

After deleting the offline matte and cleaning up the empty tracks your timeline should look simpler like the example below.

To reapply the Matte that was deleted inside Resolve go to the top of the screen and select “Timeline” and all the way at the bottom under “Output Blanking” you can select your aspect ratio.

Next you will need to link your sequence to the “Offline Reference Clip”. In the “Edit” page right click on the sequence and select your Reference Video.

Nothing immediately will happen. In order to view the reference video simultaneously with what’s in the timeline you will need to switch from “Source” to “Offline”. This will change what is displayed on the left hand screen.

With the left hand screen set to “Offline” as you screen through the timeline both screens will play locked together. The left hand screen displaying the reference video and the right hand screen displaying what is currently in the timeline. The goal is to “conform” the timeline so that it matches the left hand screen exactly. By right clicking in the Right hand screen you can access several comparison views to make this easier.

In comparing your timeline against the reference you will notice two things that need to be fixed. One is the color of the clips on the timeline is in Log and needs the same LUT that you used set and in Media composer applied. Two the small is slightly different. This is because your OCF files are 2K (2048×1080) and the Reference file is HD (1920×1080). You will want to address both of these.

To address the color switch into the “Color” page.

You will notice that every clip has an empty node and all of the thumbnails are displaying Log images.

On the right hand screen go to the LUTs folder and navigate to the Red IPP2 709 folder and select the LUT that was originally used. For most of you this will be: Medium Contrast Medium Size.

Drag it into the node for the first clip. Then simply copy and paste that node tree into all of the other OCF clips in your timeline.

Now that the color is the same you can switch the “Difference” tool. This will overlay the reference video on top of the footage in the timeline. Anywhere it lines up perfectly will be black. This is a good tool to see differences in position and scale.

Because of the small difference between 2K and HD everything will need to be called slightly so taht it matches the reference exactly. In the example below which is a 1.85:1 aspect ratio show the zoom needed o be set from 1 to 1.026.

You do not need to do this one at a time. You can either copy and paste these attributes or you can lasso several clips at once and change them together. Go slowly through the timeline checking each shot carefully against the reference video. Play close attention to shots that you know where zoomed, repositioned, had the speed changed, or where otherwise efferent in Media Composer. If you come across any leave a marker for yourself by hitting “M” and leave a note of what seems to be the problem. The post staff can help you work out anything that you find.

After you have gone through the project a few times and are very confident that the timeline in Resolve is an exact match of the Locked timeline from Media Composer you are done. The project is now conformed and ready for color correction.

To save your conformed project back up to your show volume select File and the Export Project.

Label the project Show#_Conform and export it to the Resolve folder on your show volume next to the Template.

Once you see your project safely on the show volume you can quiet Resolve. You are done.

Offloading Media Cards

Overview

The CMPAFilmPost Server is where you will offload all of the Original Camera Files (OCF) and Production Audio. Every computer the Post Hall has ShotPut Pro installed as well as a Red Mini Mag reader and a multi card reader attached.

ShotPut Pro is a software which not only copies video and audio files but will also verify the copies afterwards and make reports documenting that the offload was successful. These reports will be uploaded to Frame.io so that the production can keep track of when the media was offloaded and verify that the offload was successful .Every media card used on a production must use ShotPut Pro for offloading to the proper folder tree on CMPAFilmPost to assure the productions video and audio assets are safe.

Mounting Media Cards

The Assistant Editor (AE) will retrieve the Red Mini Mag (containing the video), the SD card (containing the audio), and the camera reports from the ingest room cubby and bring them back to their assigned suite on the post hall for offloading. Production should have applied red tape to show live media was on them and labeled them as shown.

Remove the tape and insert the cards into the corresponding readers, they will mount like an external hard drive and appear on the desktop.

Desktop
RED MINI MAG CONTAINING VIDEO
SD CARD CONTAINING SOUND

Offloading Media with ShotPut Pro

After both media cards are mounted launch ShotPut Pro from the dock.

When it opens it will appear as shown below. Notice how the media cards and the Server are shown on the left of the screen.

To offload the entire contents of the Red Mini Mag drag the disk icon and drop it in the box labeled “offload from”.

Next you will need to tell ShotPut in what folder on the CPMAFilmPost Server you would like to offload to. Navigate down into the folder tree on the left hand side until you find the proper Show and Day folder for your production. Then drag the folder icon and drop it in the box labeled “offload to”.

In the field labeled “Job Identifier” fill in the information for this offload in the following format: Production#_Day#_Card#.

Before starting the offload you will need to check a few settings. First under “Verification Options” make sure the type is set to “MD5 Checksum”. This is a good balance of speed and security.

Next make “Report Preferences” and make sure that all the options are check as shown in the example below. This won’t effect the actual offload at all but it will dictate how the pdf that is generated after the offload will be formatted.

When everything looks good you can start the offload by selecting the Blue Arrow.

On the right hand side you will see the progress bar appear and you can monitor how long it will take. It will go through several phases as shown below and ho long it takes is dependent on how much media was on the card.

While the video is being offloaded you can go ahead and set the audio offloading at the same time. Just repeat the same process as you did before. To offload the entire contents of the SD Card drag the disk icon and drop it in the box labeled “offload from”.

Next navigate down into the folder tree on the left hand side until you find the proper Show and Day folder for your production. Then drag the folder icon and drop it in the box labeled “offload to”.

In the field labeled “Job Identifier” fill in the information for this offload in the following format: Production#_Day#_Card#.

You can click the blue start arrow again and it will sue up your next offload. When both media cards have finished offloading and are verified it will appear as shown below.

The media is now safely offloaded to the CMPAFilmPost Server.

Verification Reports

You can find the verification reports alongside the media in the folder that you pointed ShotPut Pro toward.

The Verification Reports should look like the examples below.

After checking the reports upload them to the appropriate show folder on Frame.io.

Wrap Up

The SD card will need to be erased after you have verification from ShotPut Pro that the data was transferred safely. Remember to empty the trash after deleting the sound card media as that is the only way to free up space on the card. You do not need to erase the Red Mini Mags as they will be reformatted the next time they are put in the camera. Return the media cards to their cases and return them to the shows cubby in the ingest room. Now that the tape has been removed production will know that they are clear to be used again.

Mounting Servers and Show Volumes

Mounting CMPAFilmPost

CMPAFilmPost or “the post hall server” should always be mounted on the desktop of your machine and will look like the example below.

If for some reason it is not mounted type “Command” + “Spacebar” on the keyboard.

This will bring up the Spotlight Search function.

Type in “cmpafilmpost”. This will find an app that will mount the server. Hit “Enter” and it mount and you will see it on the desktop.

This is the main post hall server. This is where your Original Camera files and Production Audio will live.

Mounting Show Volume

Each film will have its own individual “Show Volume”. This is where your Media Composer Project and ProTools Project will live. You will need to mount the volume specific to the film you are working on.

To do so type “Command” + “K” on the keyboard.

This will bring up the “Connect to Server” prompt. Type in the address:
smb://cmpa-w-fs05.film.fsu.edu

This will show all the possible show volumes that are available to choose from. Select your show number and then hit OK.

It will mount on the desktop and will look like the example below.

This is the folder structure inside.

Mounting TestShare

TestShare or “the Z Drive” is the server used for VFX and Animation work. If you need to mount it type “Command” +”K”.

This will bring up the “Connect to Server” prompt. Type in the address:
smb://cmpa-w-fs04.film.fsu.edu

You will need to enter your FSU ID and Password.

After that it will let you choose “TestShare”. Click OK to mount it.

It will mount on the desktop and will look like the example below.

This is the folder structure inside.

Teradek ServePro Setup

Before arriving on set have your crew members download the free VUER app to their Android or Apple phones.

On set the Script Supervisors cart should be setup as shown below with the Directors monitor facing one way and the Script Supervisors laptop facing the other way.

In between them will be the three Teradek modules. Its a bit confusing because they are all made by the same company but they are the Bolt, the ServePro, and the Link.

The Teradek Bolt is a radio receiver which wirelessly connects to the Teradek Bolt transmitter that is mounted on the camera. This allows video from the camera to wirelessly get sent to the Script Supervisors cart.

The Teradek ServPro creates a local wifi network that allows up to 10 devices to monitor video over wifi using the VUER app.

The Teradek Link is a router which boosts the ServePros wifi signal so you can monitor from a farther distance.

The Bolt receives the video signal from the camera over radio. The video signal comes out of the Bolt and is split. One SDI goes to the ScriptE laptop and the other SDI goes to the Directors monitor. Then out of the Directors monitor the video signal is passed through over SDI to the ServPro.

Then from the ServPro the video signal is sent over wifi to the Link where the wifi is boosted and the video is sent via wifi to up to 10 phones.

Next you need to connect your phone to the Links wifi. Look on the bottom of the Link to see the wifi name and password.

Connect to to the Link wifi and enter the password.

Confirm that you are connected to the correct wifi. It is normal for it to say “No Internet Access”.

Open the VUER app and select Camera A to load a stream.

Select “Refresh” to load available streams. And the select “Encrypted Stream”.

Confirm the “Encrypted Stream” is loaded into Camera A and then select “Done”.

Enter the password which is fsufilm.

You can now monitor the camera feed over the Links local wifi hotspot.

Ingest Media

The Script Supervisor / Editor will collect the media cards and camera reports at the end of the shooting day at Critchfield Hall.

Back at school use suites 11 and 12 on the post hall to offload the media to the server. You can access the post hall through the lobby, going up the stairs and turning left. Once on the post hall the suites are all the way down on the right. Those two suites have been set aside for D1 ingesting and no one else will be using them.

Track 1 Editors should use suite 11.

Track 2 Editors should use Suite 12.

Use the attached card readers to offload camera and sound media to the server in the appropriate show folder. Please remove the tape from the cards indicating that media is present on them before inserting them into the readers.

Once the media is safely on the server the Editor should also copy it to there own personal hard drive so they will have it for when they sync and edit at home.

Finally, once the media is on the server AND on your own hard drive upload the media to frame.io using the frame.io transfer application so the Director can access it remotely as well.

You also need to upload the sound report and camera report to your frame.io project as well. The sound report is a .csv file and can be found in the in the folder you offloaded from the sound card. Uploaded it to the Reports folder.

The camera report is paper so to upload it to frame.io simply take legible picture of it, rename the file your show#_Camera_Report and then upload that to the reports folder on frame.io as well.

The Script Supervisor will have already uploaded those reports to frame.io so when everything is up it will look like this.

When your all done please leave the media cards in the cases on the desk in the suite. The Post Staff will collect them and return the now empty cards to the Head of Production.

On Tuesdays all the Script Supervisors / Editors from the previous week will sync dailies on their own computers. Ian will meet with you over zoom to walk you through the process remotely. Track 1 will met with Ian at 2:15pm and Track 2 will meet with Ian at 9:00am.

Assistant Editing Workflow (BTH)

The Assistant Editor (AE) works for the Editor and is responsible for managing the media as it enters into the editorial phase of post-production. The key tasks are to:

Offload Media

At the end of each day of shooting, the AE will retrieve the Red Mini Mags (containing the video), the CF cards (containing the audio), and the camera reports and bring them back to their assigned suite on the post hall for ingest. They should be labeled with Red Tape as shown.

Remove the tape and insert the cards into the corresponding readers, they will mount like an external hard drive and appear on the desktop.

CF Card containing Sound
Red Mini Mag Containing Video

Copy the audio from the CF card to the appropriate folder on CMPAFilmPost. Inside the day folder you will need to create a folder specific to what each card is labeled. EX: CF_919

CMPAFilmPost– 1_Project – Class – Show – 0_Media – 2_Audio – Production_Audio – Day – Card_#

Move the CSV files which are the Digital Sound Reports from the audio folder to the reports folder. Once its in the reports folder either slack or email the Digital Sound Report to the shows producer.

CMPAFilmPost– 1_Project – Class – Show – 0_Media –3_Reports

Copy the video from the Red Mini Mag to the OCF folder on CMPAFilmPost. Inside the day folder you will need to create a folder specific to what each card is labeled. EX: SSD_66

CMPAFilmPost– 1_Project – Class – Show – 0_Media – 1_Video – OCF – Day – Card_#

Triple-check that the media from from each card has fully transferred to the appropriate folders. You have the show in your hands here and it would be disastrous if you deleted it accidentally! 

The CF cards will need to be erased after you have confirmed their transfer to CMPAFilmPost. Remember to empty the trash after deleting the sound card media as that is the only way to free up space on the card. You do not need to erase the Red Mini Mags as they will be reformatted the next time they are put in the camera. If you still have more days of production to go, you will return them to the Producer on set the next day. If it’s the final day of production, please leave all the media cards for your show in your assigned suite. The post staff will turn them around to the Head of Production.

Import Media into Premiere

Navigate to the following folder on the CMPAFilmPost to open the Premiere Project.

CMPAFilmPost – Projects – Class – Show – 1_Picture – 1_Premiere

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.

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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).Paragraph

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. You have a margin of error of one frame. The merged clip can be off by one frame and still be acceptable. 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 can be used by the editor.

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. Under01_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

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.

Makea 5 second Slate to begin the dailies sequence and fill it out as below.

Once you have finished building the dailies sequence, create an adjustment layer and drag over the clips and apply the LUT.

Applying LUT

All the OCF files are shoot in LOG which is great for color correction but means that without being modified with a LUT they appear flat.

OCF video file in LOG

To make sure the dailies sequence and assembly edits don’t appear flat like this you will need to make an adjustment layer and stretch it over the entire sequence on video track 2.

Adjustment layer over the sequence.

Select the adjustment layer and go to the Lumetri controls and under “Basic Correction” you can select an “Input LUT” from the dropdown menu to apply to it.

Select “RWG_Log3G10 to 709_BT1886 with MEDIUM_CONTRAST and R_2_Medium size_33 v1.13”

RWG_Log3G10 to 709_BT1886

Once the LUT is applied to the adjustment layer all of the OCF footage underneath will appear normal.

OCF video file in LOG with LUT applied
Exporting the Dailies Sequence

Once the dailies sequence is fully built, export the sequence to Frame.io using these instructions. Upload to the appropriate day’s Dailies folder in Frame.io and point the render to the appropriate folder on CMPAFilmPost.      

CMPAFilmPost – 1_Projects – Class – Show – 1_Picture – 2_Dailies_Exports

It is the AE’s responsibility to have the previous days dailies ready on Frame.io for the director to review at lunch every day.

Exporting the Assembly

You will also be building an assembly sequence that can be found in the cuts bin inside Premiere. This does not need to be elaborate or take a lot of time. But you do need to be building a very rough assembly of the film as each day goes along. This can be labeled, exported and uploaded just like the dailies sequences.

It is the AE’s responsibility to have the previous days assembly ready on Frame.io for the director to review at lunch every day.

Editors Notebook

Watch the exported QuickTime file to check for errors and to fill out the relevant fields of the Dailies Screening Notes form. Each form has spaces for the Date Shot, Scene Number, Take Number, which you can enter in the order that the shots are arranged in the dailies sequence. You can also note if the shot was sync or MOS, if it was a series take, and if it was the “best take,” a “good” take, or “no good.” Within the text box for each shot, you should also include a brief technical description (i.e., WS, MCU, Dolly into an ECU, etc.) and note any obvious technical flaws.

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.

Wrap Up

After the final day of production the AE should ensure that everything is sync and the Premiere Project is ready for Editorial to begin. Save the Premiere 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.

Assistant Editing Workflow (MFA On Set)

Overview

The Assistant Editor (AE) works for the Editor and is responsible for managing the media as it enters into the editorial phase of post-production. The key tasks are to:

  • Setup the AE and Media Bay kit
  • Offload media
  • Import media into Premiere
  • Synchronize clips
  • Organize media in Premiere
  • Organize Script Supervisor notes
  • Build, export, and review dailies sequences
  • Compile the Editor’s notebook

Offload Media

The AE will retrieve the Red Mini Mags (containing the video) , the CF cards (containing the audio), and the camera reports at regular intervals throughout the day. It is very important that sound and picture cards are offloaded concurrently. It is also important that production turns over media at realistic intervals to allow the AE to work effectively on set. 

Insert the cards into the corresponding readers, they will mount like an external hard drive and appear on the desktop.

CF Card containing Sound
Red Mini Mag Containing Video

The Media Bay will have two separate solid state drives always mounted to the desktop. You will need to offload every camera and sound card to BOTH drives. This way the media will aways be in two separate places. That way, in the slim chance that something goes wrong with one drive, the media will always be safe on the other one.

Backup 1 and Backup 2

Copy the audio from the CF card to the appropriate folder on Backup 1 AND Backup 2. Inside the day folder you will need to create a folder specific to the roll and the card. Ex:(03_CF_912) That would be the third sound roll and it was on CF card number 912.

Sound Day 1 Example
Sound Day 2 Example

Next, copy the video from the Red Mini Mag to the appropriate folder on Backup 1 AND Backup 2. Just like with the sound card , inside the day folder you will need to create a folder specific to the roll and the card. Ex:(03_SSD_61) That would be the third camera roll and it was on SSD card number 61.

Camera Day 1 Example
Camera Day 2 Example

After you have offloaded camera and sound cards to both backup drives you may then safely eject them from the card readers.

Do not return these to production until you have sunc the footage and performed a QC in premiere.

When that is complete, the CF sound card will need to be erased. Remember to empty the trash after deleting the sound card media as that is the only way to free up space on the card. The camera card does not need to be erased as it will be reformatted in the camera.

Import Media into Premiere

Navigate to the following folder on Backup 1 to open the Premiere Project.

Premiere Project Example

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

Import theWAV files into the appropriate bin.

02_Audio – Production – Day

Import the ProRes Quicktimes into the appropriate bin. Do not import the R3D files into premiere. To make this easier you may want to highlight them in a finder window and then drag them into Premiere to import.

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03_Footage – Production – Day

Check the audio and video clips in premiere against the camera and sound reports to make sure their is no discrepancy in the amount of media.

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.
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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 may have multiple .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. You have a margin of error of one frame. The merged clip can be off by one frame and still be acceptable. 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 contact the Post Production Supervisor.

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.

Organize Script Supervisor notes

At the end of each day, after the Script Supervisor has uploaded their notes to the Locket Network, download them so they can be imported into Premiere and entered into the metadata of the individual shots.

Open a web browser and go to lockitnetwork.com:

Click the login button and enter the username and password for the school’s account. (Check with the Post Staff if you do not know the login credentials.)

In the project dropdown select your project.

Select the “Reports” tab. Before proceeding make sure to select “All Shooting Days”, “PDF”, and “English”, then download:

  • Editor’s Log
  • Facing Page
  • Shot Log
  • Lined Script

When they are downloaded move them to the “Lockit Notes” folder alongside your Premiere Project Backup 1. Email a copy of them to the shows producer. 

Locket Notes Example

In Premiere, open the “PDF viewer” extension.

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Write caption…

Dock the PDFviewer Panel next to Effect Controls Panel.

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Click the upload button and import the four documents. Each one will have to go in a separate tab. You can hit the plus button to make all four tabs.Paragraph

When they are all imported it will look like the example below.

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Write caption…

Next, you’ll need to customize how metadata is displayed in the Project Panel, so that the necessary columns are visible. Right-click on the tab for the Project Panel and select “Metadata Display…” from the menu.Image

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Search for “Description” and confirm that the first box is checked. Then search for “Comment” and check the first box.

Once you have both a “Description” and a “Comment” column, you can drag them next to the “Name” column in the Project Panel.

Open the Facing Page tab in PDFviewer. For each shot, copy-and-paste the “Shot Description” from the Facing Page document into the “Description” field on the merged clip. And copy-and-paste the “Take Comment” from the Facing Page document into the “Comment” field on the merged clip.

Build the Dailies Sequence

Under 01_Sequences – Dailies you will find the prebuilt sequence. Everything shot from the entire show will be put into this one sequence. Please do not separate each days footage into separate sequences or omit any material.

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.

Makea 5 second Slate to begin the dailies sequence and fill it out as below.

Exporting the Dailies Sequence

At the end of production, after everything has been sunc and organized in the dailies sequence, 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 “Dailies Export” folder, alongside your Premiere Project on Backup 1.      

Since the AE is already on set, their is no need to export dailies for review while still in production. The ATL can view the dailies or the assembly edit right in Premiere.

Review the dailies sequence

Prior to screening dailies Faculty in the HD suite, watch the exported QuickTime file to check for errors and to fill out the relevant fields of the Dailies Screening Notes form. Each form has spaces for the Date Shot, Scene Number, Take Number, which you can enter in the order that the shots are arranged in the dailies sequence. You can also note if the shot was sync or MOS, if it was a series take, and if it was the “best take,” a “good” take, or “no good.” Within the text box for each shot, you should also include a brief technical description (i.e., WS, MCU, Dolly into an ECU, etc.) and note any obvious technical flaws. Leave enough space to capture the Director’s notes as well during the dailies screening.

These notes should be hole punched and compiled in a labeled three ring binder to make the AE Binder.

Wrap

Once you have confirmed that the dailies sequence has exported properly and your screening notes in the AE Binder are complete you are done. Return the completed editors notebook and the media cards into the assigned cubby in the ingest room. Leave the two (the AE Kit and The Media Bay) in the ingest room for safe keeping. The post staff will transfer your work from the Media Bay to the SAN.

Picture Lock

At the end of the picture edit cycle, the Editor and Director will be assigned a time to formally lock picture. This means that the Lock Sequence must be completed by that time and the appropriate fields must be filled out in Motion.

Once picture locking is complete, the Editor and Director will work with the Post Staff to prep the film for the next phases of the post-production chain, which includes turn over for sound design and color correction.

Create the Locked sequence

In Media Composer, correctly identify your locked sequence and save it in the Lock bin as Show#_Lock. For example, the locked sequence for 09D2 would be named 09D2_Locked.

Double-check the project settings by going to Preferences and then Format. Your Format settings should be as follows:

Build the front sequence

All locked sequences must have a “front sequence” at the start of the timeline that is formatted to Academy standards. This involves setting the sequence timecode to begin at 00:59:00:00 and building a front sequence that includes 30 seconds of bars-and-tone, 30 seconds of slate, the Academy leader (i.e., the countdown), and the FSU leader.

To begin, locate the front sequence materials on FSUFilmPost. Then using the Source Browser attempt the post them into the front Sequence bin. Make sure your target drive is set to your show volume and the Resolution is set to DNxHD SQ.

When you select import it will through you a few messages you will have to click through before it will give you the option to Link and Transcode them Select “Yes to All”.

Once all your Front Sequence material has been properly imported to a bin as a master clip it will look like this.

Set your sequence to begin at timecode 00:59:00:00. To do this, click in the Record Monitor and Select “Sequence Report”. This will allow you to modify the starting Timecode.

At 00:59:00:00 on the timeline, insert the 30-second bars-and-tone clip from the Front Sequence bin.

At 00:59:30:00 on the timeline, insert a 30-second slate. You’ll need to create the slate yourself, using the title tool in Media Composer. Please keep it professional and include all the pertinent info:

At 01:00:00:00, insert the 8-second countdown from the Front Sequence bin. If everything is put together correctly, the “two-pop” on the countdown leader will fall exactly on 01:00:06:00. (This is very important!)

At 01:00:08:00, insert one of the 8-second FSU leaders from the Front Sequence bin.

At 01:00:16:00, line up the first frame of content to start there.

Your completed front sequence should now look like this:

Add titles and credits

The College has strict requirements for how titles and credits need to be formatted. Before building your titles, read the requirements here.

The finished titles and credits must be in at picture lock and cut into the proper video track.

Condense tracks for color grading

To prep your timeline for coloring your video needs to be condensed onto as few video tracks as possible. It’s understood that, due to the nature of how some video dissolves are built, more than one track is sometimes necessary. The idea is to reduce the amount of tracks and media as much as possible.

Your sequence would go from looking like the example below with video on tracks V1 – V3 that needs to be brought down.

To your sequence looking like the example below with everything consolidated onto one track.

Also make sure that the proper Matte Bars are placed on video track V5.

QC the locked sequence

The Director/Editor should watch the film one last time looking for black frames or other problems. Once your picture is locked it is locked!

Save the project

Lastly, once you are confident that you’re locked sequence is formatted correctly and ready for conforming and turnover, make sure to save your project.

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 the server.

The audio will be saved here.

The video will be saved here.

Premiere Project

The Premiere project also lives on the server. You can find it in your show folder.

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:

Finally you need to apply the proper LUT in an adjustment layer to make the Log footage look correct. Without an adjustment layer your footage will look washed out like the example below.

Create an adjustment layer and label it “Log_to_709” and save it in your “05_Misc” bin.

Then in the color page select the adjustment layer and go to “Input LUT” and “Browse”.

Select the “Medium/Medium” LUT from the Extras folder on the server.

Once applied the footage in the dailies sequence will look correct.

Exporting the Dailies Sequence

Once the dailies sequence is fully built, export the sequence to Frame.io using these instructions. Save it to the proper folder on the server as shown below and then Log into Frame.io and upload it to the proper show folder.    

Wrap Up

Contact your director and let them know that the dailies are ready for viewing on Frame.io. Setup a time with them to either watch them together or over zoom so you can discuss and make notes to prepare yourself for your fist day of picture editing. Remember that you both can add notes to the dailies sequence on frame.io so you can keep track of specific shoots or moments that you like.

When your all done contact the Post Supervisor to let them know you are finished. Then save and quite Premiere and log out of Frame.io. Congratulations! Your done.