Author: Thomas Gast

F1 Sound Design

At the start of your Sound Design day duplicate your “Picture Lock” sequence. Rename the new sequence “XXF1_Picture_Lock_Sound” and move the sequence to the “Sound_Turnover” bin.

Production Audio

If you haven’t already been doing this during your picture editing time, now is when you would want to make sure your production audio tracks are checkerboarded and have cross fades on everything. This is also when you may need to cut in some room tone to fill any gaps.

If you need to turn the Clip Gain up or down the easiest way is to us the “Fast Menu” to give you access to the control on the clips in the timeline.

If you need finer control use the fast menu to switch to “Volume” and then you can use keyframes to automate any volume changes.

To make this go faster use the default keyboard shortcut for adding keyframes.

Also remember that “option” key is your friend for being able to lasso and manipulate the keyframes once they are created.

For reference a normal speaking voice should hit at about “-12dB”. To monitor this you can pull up the “Audio Tool”.

If a character is yelling it would be above that and if a character was whispering it would be below that.

Music

If you need music for your F1 remember that you have access to the Universal Production Music website.

You can ask for the login username and password and your instructor can slack it to you.

When you download tracks from the website by default they will be saved in your “Downloads Folder”. DO NOT leave them there. Instead move them to the appropriate music folder in your shows audio folder as shown in the example.

The to import any music into Media Composer, assuming you have your “Import Settings” set properly all you have to do is drag and drop it into the proper bin and it will import it.

By default most music comes in very loud so you may want to lower the volume of audio while its still in the bin before you cut it into your sequence. To do so, select all the files you want to effect, right click and select “Apply Gain”, then you can type in “+” or “-” how much you want to turn it up or down.

Your music will need to go into one of the “stereo” tracks in your timeline so make sure its set to stereo and then cut it.

Sound FX

For sound FX for your F1 you should use the Soundly app to search through the sound FX library.

Just like with music, as long as your import settings are set properly in preferences you can simply drag and drop the sound FX you want into the proper “Sound FX” bin in Media Composer.

Also, just like with music you need to pay attention to whether the audio is stereo or not. Make any adjustments necessary and then cut it into the proper track in your sequence.

Exporting Stereo Mix

At the end of your sound design day when you done working you will need to export a stereo .wav file that will be imported into Resolve and sunc up with picture.

Mark in at the very beginning of the sequence and out at the very end of the credits. IMPORTANT include the entire front sequence not just the content. Then select all of the audio tracks.

Right click in the program monitor and select export. 

Check that the name of the file is correct, that its going the proper folder and that you are using the correct export setting.

If you don’t yet have a “F1_Stereo_Audio_Export” preset make one using these settings.

When the export is complete you can listen to the .wav file to make sure it’s all there. If everything sounds good save your bins and close Media Composer.

Assistant Editing Workflow

Overview

  • Link, Modify, and Transcode Footage into Media Composer
  • Import Audio into Media Composer
  • Synchronize Audio and Video
  • Organize footage in Avid bins
  • Assemble dailies string out
  • Export and upload to Frame.io

Media Composer Project

Make sure your “Show Volume” is mounted and navigate to your show folder and launch the media composer project.

When it opens you will see the project template. These folders and bins must be maintained and kept organized.

Before you begin double check the “Media Creation Settings”. Go to preferences, project tab, and then Media Creation.

In the Media Creation window make sure you select:

-DNxHD SQ for Video Resolution

-Your Show Volume for the Video and Audio Drive

Select Apply to All for everything and then click Okay.

Link, Modify, and Transcode Footage

Open the Linked OCF bin.

Right click inside the bin and select Import – Source Browser.

Inside the Source Browser navigate to to a days worth of OCF, make sure the Link icon is selected, and then click Link.

This will “Link” all of the select footage into the bin. Notice the icons a linked chain letting you know this is not Avid Media yet but only linked to the OCF on the CMPAFilmPost Server.

Highlight all of the linked files in the bin by hitting “Command + A”. Then right click on a clip and select “Source Settings”. This will open the “Source Settings” window. You will use the Color Encoding tab to apply a Look Up Table (LUT) to the OCF which is in Log. Then you will use the FrameFlex tab to set the proper aspect ratio.

In the Color Encoding Tab set the Color Adapter Type to “User Installed LUTs”

Then select your shows LUT from the list. Unless otherwise instructed by production you will use the default LUT which is Medium Contrast and Medium Size shown below.

Then click “Add” and then “Apply to All”. This will change all of your linked footage from looking like a LOG video file (washed out and without contrast) to looking like a 709 video file (saturated and with contrast). This is what the DP would have been viewing on set.

Next use the FrameFlex Tab to set the proper aspect ratio. The only two options you need to modify are the “Frame Aspect Ratio” and the “Reformat” drop down menu shown with red arrows below.

The “Frame Aspect Ratio” will be set to one of the three approved aspect ratios of either 1.85:1, 2.39:1, or 1.375:1. Check with the production to see what aspect ratio they framed for.

The “Reformat” drop down should be set to Pillarbox/Letterbox.

Click “Apply to All”.

Changing these two parameters will ensure that when new Avid Media is created that is 1920×1080 it will have the correct aspect ratio burned in.

Now that all of your linked media has the proper color and framing its time to transcode to Avid Media. Highlight all of the linked files in the bin by hitting “Command + A”. Then right click on a clip and select “Consolidate/Transcode”.

This will open the “Consolidate/Transcode” window.

Study the options with the red arrows shown below. THIS IS VERY IMPORTANT as it determines the kind of media that will be transcoded and used for editing in Media Composer.

The radial button in the top left should be set to “Transcode” You should select your show volume under target drive. DO NOT SELECT CMPAFilmPost. Then double check all of the red arrows on the right.


Once everything is set properly you can click “Transcode”. This process will take a few minutes as it generates new Avid Media so take a break and relax.

When the transcode is finished you will notice that now you have two versions of everything in your bin. One is a linked OCF and the other is Transcoded MXF Avid Media.

Move the Transcode MXF media to the proper bin.

Import Audio

Open the Transcoded Production Audio bin.

Use the source browser like before and navigate to the proper folder on the CMPAFilmPost Server and select all the production audio. Only this time you will directly “Import” the audio instead of “Linking” to it first. Make sure you study the red arrows below and then click “Import”

Before it begins transcoding it will ask you about audio start times. Make sure it is set to “24” and then click “Okay to all”.

When the transcode is finished you will have Master clips of all your production audio.

Synchronize Audio and Video

Too synchronize Master audio clips and Master video clips they need to be placed in the same bin. Move the days worth of audio and video together into the “Synching Bin”.

Select all the audio and video clips in the syncing bin and then right click and select “AutoSync” from the dropdown menu. The “Sync Selection” window will appear. Make sure you have “Source timecode” selected and then click okay.

This make make a sub clip out of every audio and video clip that had matching timecode. Anything that did not sync because it couldn’t find a pair with matching timecode will be left highlighted.

Change the clip color of these to make it easier to keep track of.

In the example below. You will see two audio master clips that didn’t sync to anything because they are Room Tone. One Audio master clip taht didn’t sync to anything because it was a bump take. And two Video Master clips that didn’t sync to anything because they are MOS.

Move the Master clips out of the synching bin and into their proper bins.

This will leave only the sync sub clips in the synching bin. If you did have any MOS Master clips make subclass of them in the Synching Bin.

Now you need to check the sync of each clip by opening it in the source monitor and scrubbing through the slate. It you switch the timeline to reflect the source monitor using the button shown below it will be easier since you will be able to see the waveforms of the punch sub clip.

As you go through checking synch on each subclip you should cross reference them against the physical camera report to make sure you have everything. This is also the time taht you cane rename the subclass to reflect the shot name as written on the slate.

Organize Footage in Avid Bins

Once everything is renamed you can move the subclips out of the synching bin and into the appropriate scene bin.

Switch the view in the scene bin to the thumbnail view.

Then drag the thumbnail around and organize each scene bin into rows of setups and columns of takes.

Next you will need to change the thumbnail for each one. By default the thumbnail is the first frame of video which is not helpful to an editor as its normally blocked by the slate. You can change the thumbnail by single clicking on the clip and then scrubbing with the JKL keys. Wherever you stop scrubbing that thumbnail will bye saved.

If a setup has only one take set the thumbnail to what the majority of the shot represents. If a setup has multiple takes set the early takes to the beginning of the action and the last takes to the end of the action.

In this way the editor can see at a glance what the motion of the camera or changing of the blocking is by looking across the different takes.

Assemble Dailies String Out

Open the correct dailies stringent sequence based on the day of production you are working on.

Assemble the days rushes into the dailies string out in shooting order. To do this reference the physical camera report and insert each shot into the sequence in the same order as it says it was captured on the day of production.

Insert a 5 second slate at the begin of the sequence and using the Avid Title tool fill in the slate with all the information shown in the example below.

Inside the Avid Effects Bin you will find a Dailies Timecode Burn-In effect.

Apply this effect to the fill in the labeled video track and make sure you are monitoring on that track as well.

You will see in the Program Monitor that your Dailies string out now has timecode and shot names burned in.

Export and Upload to Frame.io

Mark in to out for the entire timeline and select all the video and audio tracks.

Right click in the program monitor and select export.

Check that the name of the file is correct, that its going the proper folder on your show volume, and that you are using the correct export setting.

When the export is complete you should open it in quicktime player and check to make sure everything is correct. Then upload to the proper folder on frame.io.

When you are all done save your bins and close the project.

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.

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 Editing Workflow (MFA)

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:

  • Ingest media to CMPAFilmPost Server
  • Link and Transcode footage in Media Composer
  • Synchronize audio and video
  • Organize media Avid bins
  • Import ScriptE ALE and copy and paste notes
  • Assemble, export, and upload to Frame.io dailies sequences

Mount Show Volume

The CMPAFilmPost server would already be mounted and viewable on the desktop as shown.

If the CMPAFilmPost Server is not already mounted you can mount it by running an automated script. Hit “Command + Space Bar” and then type in “cmpafilmpost” into the search field.

That will find the automated script. Hit return and the Server will mount.

Next you will need to mount the server volume for the specific film you are working on. Hit “Command + K” to open the Connect to Server window.

When you click “Connect” another window will display the options for each shows individual volume.

Find the show you are working on and then click OK. This will mount your show volume and it will be viewable on the desktop alongside CMPAFilmPost.

The CMPAFilmPost Server is where you will offload all of the original Camera files and Production Audio to.

The Show Volume is where your Media Composer Project will live and were you will transcode your Avid Media to.

With both of those mounted you are ready to start ingesting media.

Ingest Media

At the end of each day of shooting, the 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 ingest. 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.

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

Move the CSV files which are the Digital Sound Reports from the audio folder to the reports folder. Once its in the reports folder you can upload it to the reports folder on Frame.io.

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. Return the media cards to the show cubby in the ingest room. Now that the tape has been removed production will now that they are clear to be used again.

Link and Transcode Avid Media

Navigate to the following folder on Show Volume to open the Media Composer Project.

Inside the folder “03_Footage” as another folder labeled “Production”. Inside of that folder is a bin labeled “Synching”. Right click inside that bin and select “Input” then “Source Browser”

This will open up the “Source Browser” window. Use it to navigate the CMPAFilmPost server to where the Original Camera Files (OCF) is located. Make sure the radial button in the bottom left is set to “Link” and then click “Link” in the bottom right.

That will link all of your OCF into the “Synching” bin. Notice the icon has a icon with a linked chain letting you know this is not Avid Media yet but only linked to the OCF on the CMPAFilmPost Server.

Highlight all of the linked files in the bin by hitting “Command + A”. Then right click on a clip and select “Source Settings”.

This will open the “Source Settings” window. You will use the Color Encoding tap to apply a Look Up Table (LUT) to the OCF which is in Log. Then you will use the FrameFlex tab to set the proper aspect ratio.

In the Color Encoding Tab set the Color Adapter Type to “User Installed LUTs”

Then select your shows LUT from the list. Unless otherwise instructed by production you will use the default LUT which is Medium Contrast and Medium Size shown below.

Then click “Add” and then “Apply to All”. This will change all of your linked footage from looking like a LOG video file (washed out and without contrast) to looking like a 709 video file (saturated and with contrast). This is what the DP would have been viewing on set.

Next use the FrameFlex Tab to set the proper aspect ratio. The only two options you need to modify are the “Frame Aspect Ratio” and the “Reformat” drop down menu shown with red arrows below.

The “Frame Aspect Ratio” will be set to one of the three approved aspect ratios of either 1.85:1, 2.39:1, or 1.375:1. Check with the production to see what aspect ratio they framed for.

The “Reformat” drop down should be set to Pillarbox/Letterbox.

Click “Apply to All”.

Changing these two parameters will ensure that when new Avid Media is created that is 1920×1080 it will have the correct aspect ratio burned in.

Now that all of your linked media has the proper color and framing its time to transcode to Avid Media. Highlight all of the linked files in the bin by hitting “Command + A”. Then right click on a clip and select “Consolidate/Transcode”.

This will open the “Consolidate/Transcode” window.

Study the options with the red arrows shown below. THIS IS VERY IMPORTANT as it determines the kind of media that will be transcoded and used for editing in Media Composer.

The radial button in the top left should be set to “Transcode” You should select your show volume under target drive. DO NOT SELECT CMPAFilmPost. Then double check all of the red arrows on the right.


Once everything is set properly you can click “Transcode”. This process will take a few minutes as it generates new Avid Media so take a break and relax.

When the transcode is finished you will notice that now you have two versions of everything in your Synching bin. One is a linked media and one is Avid Media.

If you were to look at your show volume you would notice that it now has an “Avid MediaFiles” folder at the root level and inside are the MFX files you just transcoded.

We no longer need the linked media so you can select all of it and delete it.

Now you can repeat the process of linking and transcoding the production audio for the day. Use the source browser like before and navigate to the proper folder on the CMPAFilmPost Server.

When you click “Link” the “Audio Start-Time Options” window appears. Set it to 24 and then select OK to All.

Just like you did before with the OCF you will need to select all of the production audio in the bin and right click and select “Consolidate/Transcode”

Then make sure the settings in the Consolidate/Transcode window are exactly the same as they were when you transcoded the OCF.

Once everything is set properly you can click “Transcode”. This process will not take nearly as long as transcoding the OCF. When the transcode is finished you will notice that now you have two versions of the production audio in your Synching bin. One is a linked media and one is Avid Media.

We no longer need the linked media so you can select all of it and delete it.

Congratulations all the OCF and Production audio from that day has been transcoded and only the Avid Media that we want in the project is left in the synching bin.

Synchronize Audio and Video

Select all the audio and video clips in the syncing bin and then right click and select “AutoSync” from the dropdown menu.

The “Sync Selection” window will appear. Make sure you have “Source timecode” selected and then click okay.

This make make a new sync sub clip out of every audio and video clip taht had matching timecode. Anything that did not sync because the timecode was off will be highlighted and will need to be synced manually.

Here is an example where you can see two room tone clips and a clip with wilds which makes sense as they would not create a subclip. It also shows audio and video for 6A_1 that did not match because it was a bump take and so its highlighted as well.

While the clips are highlighted, set the clip color so you can identify them as clips with issues.

Open the subclips 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.  

For any audio and video clips that needs to be manually sunc you can use the “Sync Selection” window as well. But first you would need to place “In-Points” at the proper place in both the video and audio clip. Open the video clip and set an “in-point” by pressing “i” on the frame where the clapper connects.

Next open the corresponding audio clip and set an “in-point” by pressing “i” on the frame where you hear the slate close. You can scrub one frame at a time and listen by holding the “shift” key while scrubbing. It may also be helpful to toggle the timeline so you can see the source monitor displayed and you can see the waveforms.

Select both the the audio and video clips and then right click and select “AutoSync” from the dropdown menu. The “Sync Selection” window will appear. This time to manually sync make sure you have “Inpoints” selected and then click okay.

Organize Bins

After everything has been synchronized successfully, move the production video into the correct Production Day bin.

Move the production audio into the Production Audio bin.

This will leave the correctly synchronized subclips in the synching bin. The subclips will have the video clip name with “sync” at the end.

Label clips and import ScriptE notes

You will need to rename the subclips in the syncing bin to reflect the scene and take information on the slate. You can find this as you go through to check the sync by watching each slate clapper close. Please label the subclips in the following format: 1A-1.

Now you are ready to import the Clip Bin file that the Script Supervisor made in ScriptE. Download the file from Frame.io and put it in your shows Reports folder on the CMPAFilmPost Server.

But before we can import it into Media Composer we need to modify a few things. Open the Clip Bin file in TextEdit and in the header change the FPS to 24.

Then go to the end of the last line and hit Return to add a space. This will ensure the last clip will get imported.

Save and close the file in Text Edit. Then change the file extension to be .ale instead of .txt.

To import the .ale file into Media Composer you will right click in the bin and navigate to the “Source Browser” like you did when linking the audio and video.

In the “Source Browser” window navigate to the .ale file and make sure you have “Import” selected, then click Import.

If you receive this error message that is fine just click OK.

The clips from the .ale will now be in the synching bin with all the metadata for the Script Supervisor. They will appear as offline in the Source Monitor and that is fine because they are not actual video files.

To more easily identify the clips from the .ale you can change the clip color of them. Then scroll to the right and you will see you have more columns with lots of good information from the Script Supervisor. To keep these columns select go to your column view presets and select “Save As”.

Make a new preset called “ScriptE”. This way you will never lose those columns and the information in them.

Now you can right click on the name column and select “Sort on Column, Ascending”

This will arrange the sunc clips and the .ale clips right next to each other since they have the same names.

Now you can easily copy and paste all the metadata information from the .ale clips to the sunc clips. This will take a little bit of time but its not difficult once you get everything setup. Just go slow and copy and paste all the information to the sunc clips.

Once you have all the metadata from the .ale clips copied over to your sunc clips delete the .ale clips from the bin.

Then move the sunc clips out of the “Synching” bin and into the appropriate scenes bins.

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.

Inside the 01_Sequences folder is the Dailies bin. Here you will find all your 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

Before exporting you need to add a 5 second slate to the start of the sequence. Move the play head to the start of the sequence.

Then Add five seconds of filler at Position. By default this will add 1 second of filler inform of your play head so you will need to do this 5 times.

Afterward you should have 5 seconds of filler before your sequence.

Then you can add a title to that filler to make the slate. Please include all of the information shown below.

To find the TRT to fill in the slate mark in at the beginning of the sequence and out at the end of the sequence. That will show you the duration that you should type into the TRT field.

Exporting and Uploading Dailies

Finally to export the dailies sequence out so you can upload it to frame.io mark in to out for the whole sequence. Then select “Export to File” from the drop down menu.

In the “Export As” window make sure under save as the name of the file is correct. Navigate to your show volume and into the “2_Dailies_Exports” folder. And under Export Settings select “Dailies_Export_720p_MP4” preset. Then click Save.

When its done Exporting you can navigate to it in the finder to make sure everything is okay.

Once you are satisfied that its good then you can upload the file to the appropriate folder on Frame.io.

Make sure that the dailies sequence is up on Frame.io and ready for the ATL to watch on set at lunch the next day.

Wrap Up

Save and quite Media Composer. Make sure you return the now offloaded media cards to the cubby in the ingest room. The producer will retrieve them to use again when they drop of the next days media cards for you.