D1

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.

Additional Photography Request

Production Paperwork

Instructions

This form should be used by Producers to make a request for additional photography outside of the regularly scheduled shooting days on the crew grid. Since additional photography involves time and resources, requests will not be approved automatically. Approvals will only be granted if the time and resources are available and if students make a compelling case for why the footage cannot be shot during regular principal photography.

Indicate on the form the type of additional photography that is being requested:

  • ESTABLISHING SHOTS OR B-ROLL
    Check this box if the request is for 2nd Unit shots that cannot easily be scheduled during regular principal photography. Typically these would be for shots that need to be shot at a discrete location without the involvement of principal actors, such as establishing shots at an inconveniently place location or B-roll of events that are occurring outside the regular production window.
  • VFX PLATES OR ELEMENTS
    Check this box if the request is for background plates or other photographic elements that are needed to complete visual effects shots.
  • PLAYBACK CONTENT FOR SCREENS
    Check this box if the request is for video content that would need to be shot in advance of regular principal photography in order to be played back during production.
  • PICK-UPS
    Check this box if the request is for pick-up photography. Only BTH and MTH shows may request pick-ups and the need for pick-ups will be determined with the directing and editing faculty during picture editing.
  • RESHOOTS
    Check this box if the request is for the reshooting of a scene where circumstances beyond the students’ control resulted in footage becoming unusable. Typically, trying to solve the problem through editorial fixes will need to be explored before a reshoot is approved.
  • OTHER
    Check this box if the request is for something different than the above examples, and provide a brief description of the type of additional photography that’s being requested.

Requests for additional photography must also include the following information:

  • the exact nature of the subject content to be shot;
  • the reason why it cannot be shot with the first unit crew during principal photography;
  • the date, times, and location of the proposed shoot;
  • a summary of the equipment plan for the shoot, including any requests for school equipment;
  • the crew required for the proposed shoot, including names and signatures (you’ll need to determine how many crew members you need and you’ll need to recruit them).
  • any additional supporting documentation can also be attached as needed.

Finally, collect the signatures at the bottom in the prescribed sequence, starting with the director’s prep faculty, followed by the Area Heads and the the Associate Dean. Leave adequate time to collect these signatures and be prepared to make adjustments to the request if any faculty members raise concerns that need to be addressed.

D1 Handoff Chart

Below is a chart showing the handoff of the following items from one show to the next during the D1 cycle.

  • Critchfield Keys
  • Production iPads
  • Media Cards
  • Walkies
  • Craft Service Bins
  • Director’s Viewfinders
  • Script Supervisor Laptops
  • Camera Batteries

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.

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.

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.

Do Not:

  • 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.