Author: Thomas Gast

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.

This image has an empty alt attribute; its file name is Screen-Shot-2019-01-10-at-1.07.04-PM.png
Write caption…

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.

This image has an empty alt attribute; its file name is Screen-Shot-2019-01-10-at-12.56.37-PM.png
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.
This image has an empty alt attribute; its file name is Screen-Shot-2019-01-10-at-1.12.09-PM.png
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

This image has an empty alt attribute; its file name is Screen-Shot-2019-01-10-at-1.20.06-PM.png

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, color correction, and (if relevant) visual effects.

Create the Locked sequence

In Premiere Pro, correctly identify your locked sequence and save it in the Lock bin as Show#_Lock. For example, the locked sequence for 01F3 would be named 01F3_Lock.

Double-check the sequence settings by clicking on the Sequence drop-down menu and selecting “Sequence Settings.”

Your locked sequence 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 (bars-and-tone, countdown, and FSU leaders).

CMPAFilmPost – 2_Extras – Front_Sequence

Import these into your Premiere Project in the Front Sequence bin. Their are two different FSU Leaders. One runs “Forward” and one runs in “Reverse”. Choose one.

Set your sequence to begin at timecode 00:59:00:00. To do this, click on the Sequence drop-down menu and select “Start Time…”

Then enter “00:59:00:00” in the pop up window.

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 Premiere Pro. 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.

Any credits that are finished by picture lock should be inserted into your Lock sequence. For credits that are outstanding (such as those that will be generated in After Effects later) you should slug the time in your sequence with a “Temp Credits” title card. It is possible to insert and change credits after picture lock but your running time cannot change. For this reason it is important that any unfinished credits be slugged in.

The second-to-last thing in the end credits should be a 2-second logo card. The post staff will let you know which logo card to use.

CMPAFilmPost – 2_Extras – End_Logos

The last thing in the end credits should be a 2-second copyright card. Double-check that the card has the correct copyright year.

CMPAFilmPost – 2_Extras – Copyright

Condense tracks for color grading

Regardless of whether you are color grading your film in Davinci Resolve or in Premiere Pro, it is important to prep your timeline for coloring. For this reason, 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 and the end result should look something like this.

QC the locked sequence

The Director/Editor pair should watch the Final Format video looking for black frames or any 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, save a new version in your projects finishing folder, but add “Locked” to the file name.

CMPAFilmPost – 1_Projects – Show_Run – Project – 3_Premiere_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 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!