While every production’s titles and credits are slightly different, the general order goes:
For FSU Film productions title and credits are limited to a maximum of 60 seconds. This can be divided between Lead Titles and End Credits but combined together their length is not to exceed 60 seconds. This allotted time includes the Logo card and the Copyright card at the end of the credits, each of which must run for two seconds each.
Titles and credits that run over picture or audio that is not “advancing the narrative” will count toward your 60 seconds for titles and credits. Titles and credits that run over picture or audio that is “advancing the narrative” will count toward your Content time.
Remember that the primary purpose of credits is to credit that people which contributed to the creation of the film. Content time is for story, credit time is for credit. Any questions will be left to the discretion of the directing and editing faculty.
Simple title cards can be made with the Premiere title tool, but more advanced animation or motion graphics can be created in After Effects. All credits must be delivered to the editor before Picture Lock. They must be exported as an Apple ProRes 4444 1920×1080 quicktime at 24fps. This will hold an alpha channel in case it needs to run over picture.
They should be uploaded to this folder on Frame.io so the Editor can cut them into the locked sequence.
Every show must adhere to the following policies:
There can be no visual changes made to the film school logo card without approval from the Dean.
There can be no possessive credits (“A Film by Me”) or production company credits. Only FSU makes these films.
Students must use their real names and students are not permitted to take their name off a film, unless otherwise approved by the Dean.
Whenever possible, students who do more than one job should have their name listed once with all jobs in one place.
Only ATL crew, actors, and the title may have single cards. Everyone else should be in groups, listed efficiently to be legible but not lengthy.
This section needs to be professional. Things like “Mom & Dad” are not professional. You may list their names, but “familiar terms” or nicknames are not okay.
If you wish to thank faculty or staff members, rather than singling out individuals, use the more inclusive: “College of Motion Picture Arts Faculty and Staff.”
For production cycles that ran a Spark fundraising campaign, include a general thank you to “Spark Donors” in every film. You may additionally thank individual donors, if you have a special relationship with them and would like for them to be able to see their name on screen.
Thanking a deity of any sort is not permitted. The State does not hold a religious affiliation, so FSU cannot thank any God or Gods.
There can be no dedicating the film to someone. Again, as FSU films, only the school may dedicate a film to someone. Students may thank people in the “Special Thanks” section.
If lead titles appear at the head of the film, they must appear in this order:
Original Score by
Director of Photography
The order for end credits, if not shown in the lead titles, are:
Director of Photography
Original Score by
The remaining end credits appear in the following order:
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 and any VFX and Credits created by the Director must be transferred to the Editor and cut into the Locked Sequence by that time and the appropriate fields must be filled out in Motion.
Once picture locking is complete, the Editor and Director will make sure the Premiere Project, Reference Video, and any additional media that the Editor used is uploaded to the appropriate folders on Frame.io so the Director can download them and conform the project for Sound Design and Color Correction.
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). They are in the extras folder in the QD2 Project on Frame.io.
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.
All credits must be finished by Picture Lock. This should be done by the Director in either Premiere Pro or After Effects and then exported out as a 1920×1080 ProRes444 video at 24fps. This must then be transferred to the Editor via Frame.io so it can be cut in by Picture Lock.
The second-to-last thing in the end credits should be a logo card lasting exactly 2 seconds. This can be found in the QD2 Frame.io projects in the Extras folder.
The last thing in the end credits should be a copyright card lasting exactly 2 seconds. This can be found in the QD2 Frame.io projects in the Extras folder.
Add VFX (if Applicable)
All VFX must be finished by Picture Lock. This should be done by the Director in either Premiere Pro or After Effects and then exported out as a 1920×1080 ProRes444 video at 24fps. This must then be transferred to the Editor via Frame.io so it can be cut in by Picture Lock.
Since not all shows will have VFX if you do please make an additional folder on Frame.io for this to be transferred to the Editor.
Condense tracks for color grading
To prep the film for the Director to be able to conform to the OCF on there machine and color using Lumetri in Premiere, 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 Editor should watch the Final Format video looking for black frames or any other problems. Once your picture is locked it is locked!
Export a locked reference
The Editor will need to create a reference video so for the director to use to ensure sync later and to make sure nothing actually gets changed during sound and color.
Export the entire sequence marking in at 00:59:00:00 the first frame of the bar and tone and then marking out on the last from of the copyright.
Label the video as: “xxQD2_Lock_Reference” Use the export settings: Apple ProRes 422LT 1920×1080 24fps progressive with square pixels.
Once its exported the editor should reimport it into premiere and lay it on a higher video track to check for any issues. Once satisfied upload it to the following folder on Frame.io;
Any additional media outside of that capture in production that is in the locked sequence needs to be placed in the appropriate folder on frame.io for the Director. This way they can reconnect everything once they have the Premiere project.
Save the project
Lastly, once you are confident that you’re locked sequence is formatted correctly, the reference matches, and all additional media is up on Frame.io. save a new version in your projects finishing folder, but add “Locked” to the file name.
Then upload it to the Appropriate folder on Frame.io for the Director.
Below is a PDF document that runs through the entire post workflow for the QD2 projects, from the production days through picture editing, sound, color, and final delivery. It’s optimized for the EVA1 workflow, but also addresses how to manage multiple file formats from different sources (such as DSLRs, phones, and webcams).
If you are utilizing media from a variety of different sources — such as video captured from different types of cameras or titles/graphics created outside of Premiere Pro — we need to make sure that the media is compatible with the post workflow. The basic rule of thumb is to match the specs for the Premiere Pro sequence settings as closely as possible for all of your media.
Premiere Pro sequence settings
The Premiere Pro sequence settings should be set to 1920×1080 24p Apple ProRes 422 with Square Pixels and Progressive Scan:
Try to match the above sequence settings as closely as possible with your original media. If you’re unable to match the settings exactly, you should speak with the post hall staff in advance to confirm that your media will be compatible with the post workflow. As a general guide:
24.00 – Best
23.98 – Good
29.97 – OK, but not optimal (possibility of dropped frames)
30.00 – OK, but not optimal (possibility of dropped frames)
25.00 – Not good
24 bit 48k – Best
16 bit 44k – OK, but not optimal
Note: .mp3 files are not your friend. Try and use .wav or .aiff files or convert your audio whenever possible to .wav or .aiff.
1.85.1, 2.40:1, or 1.37:1 are acceptable, but please check with instructors first and let them know of your intended ratio.
There are matte’s located in the extras folder on frame.io.
Titles and motion graphics:
If you create titles or motion graphics from another software program, render out with these settings: 1920 x 1080 24p ProRes 4444 (which includes an alpha channel).
The Internet is a wonderful place for finding videos, images, motion graphics, clip art, music, and sound effects that can be used in your films. Below is a list of resources to help with finding stuff that’s either in the Public Domain (belongs to all of us) or Creative Commons (licensed by the author for others to use).
Beware, however, that the Internet is also a terribly unreliable place and the burden of proof will fall on you to document that you actually have the rights to use any of the stuff you dig up, so that you have a clear chain of title on your film.
For works in the Public Domain, this can sometimes take a fair amount of research, as there is often unclear and unreliable information circulating about works that are supposedly in the public domain. Any works published in 1924 or earlier are now in the public domain. Any works published after 1924 should be assumed to be under copyright, unless otherwise confirmed. Also be aware that new versions of works public domain — e.g., the New York Symphony Orchestra’s recent recording of Beethoven’s 9th Symphony— are copyrighted. In other words, you could perform the composition yourself and be okay, but you couldn’t use the New York Symphony Orchestra’s recording without clearing it first.
For Creative Commons work, some license types (such as “NoDerivs” and “ShareAlike”) are not compatible with the work we do, so you would not be able to use that work in your film. Generally speaking, you’ll need to look for works that are licensed either as “Attribution” or “Attribution-NonCommercial”. (Note, however, that many authors who’ve opted for a NoDerivs or ShareAlike license may be open to giving you permission to use their work if you contact them directly. If they are willing, you’ll need to follow the usual process of acquiring a licensing agreement for a copyrighted work.)
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:
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.
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
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.
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
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.
The bin structure is already setup for you and must be maintained.
Import the ProRes Quicktimes into the appropriate bin.
Import theWAV files into the appropriate bin.
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.
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).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”
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”
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:
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.
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.
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.
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”
Once the LUT is applied to the adjustment layer all of the OCF footage underneath will appear normal.
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.
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.
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.
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.