Keep your projects organized and remember to duplicate your current sequences at least every day to keep an archive of your past work.
Make sure to save your project ofter. Let me repeat that, SAVE OFTEN.
Cut screenings take place a few days into the picture editing cycle and are an opportunity to you to get notes on your first assembly of the film. You are responsible for exporting your rough cuts for screening to the appropriate folder at the prescribed time. Be sure to follow the cut screening protocols.
Their will be NO VFX work allowed outside Media Composer. Anything that you can do inside Media Composer with the normal plugins is allowed. But no green screen keying, so please don’t shoot any. Only your credits may be generated in After Effects and imported in as a DPX sequence.
Each track will Picture Lock on the tenth day of their edit cycle. Correctly identify your locked sequence as
xxF1 Lock and save in the Final Format Bin.
Your Front Sequence Should be arranged in the following order.
- Bars and Tone – 30 seconds – start at Timecode 00:59:00:00
- Slate – 30 seconds – start at Timecode 00:59:30:00
- Academy Countdown (SMPTE Leader) – 8 seconds – start at Timecode 01:00:00:00
- FSU Leader – 8 seconds – start at Timecode 01:00:08:00
This means that the first frame of content will fall on 01:00:21:00. If everything is put together correctly the 2-pop (#2 on the Leader) will fall on 01:00:06:00 (This is very important!)
Please keep your slate professional. Standard font with white on black writing. The TRT on the slate should reflect the total running time of everything that will screen. Mark in at the head of the FSU Leader and out at the last frame of you credits, that is your TRT.
Your Content is not to exceed 4 minutes. Your credits are not to exceed 1 minute. Your front sequence will run for 1 minute 16 seconds.
Content is defined as anything which advances the narrative so titles or logos over narrative will still count as content time. Any questions please ask.
Video tracks should be condensed down as to as few tracks as possible to prep for color correction. The appropriate masking should be placed on the top video track to achieve the correct aspect ratio. The director should watch the Final Format video looking for black frames or any other problems. Once it’s locked, it’s locked.
Every show will have a day set aside to work on sound in Media Composer. Duplicate your Final Format Sequence and label it
xxF1 FF01 Sound. You should not be making picture edits during this time but rather smoothing out noise floors and making your soundtrack as polished as possible.
The day after is reserved for coloring in Media Composer. Duplicate your Sound sequence and label it
xxF1 FF01 Color.
Be sure to follow the protocols for all titles and credits.
The last day will be used for importing and finalizing your credit and title sequences. They will be delivered as 1920×1080 DPX sequences and imported into your timeline. Update the sequence and label it
xxF1 FF01 FINAL.
Final Format & Delivery
Export using these settings: 1920×1080 ProRes422HQ Stereo Quicktime
It is the director’s responsibility to make a final QC of this QuickTime and sign off that everything is correct. Congratulations, you made a movie!