Author: Thomas Gast

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.

Assistant Editing Workflow (BTH)

The Assistant Editor (AE) works for the Editor and is responsible for managing the media as it enters into the editorial phase of post-production. The key tasks are to:

Offload Media

At the end of each day of shooting, the AE will retrieve the Red Mini Mags (containing the video), the CF cards (containing the audio), and the camera reports and bring them back to their assigned suite on the post hall for ingest. They should be labeled with Red Tape as shown.

Remove the tape and insert the cards into the corresponding readers, they will mount like an external hard drive and appear on the desktop.

CF Card containing Sound
Red Mini Mag Containing Video

Copy the audio from the CF card to the appropriate folder on CMPAFilmPost. Inside the day folder you will need to create a folder specific to what each card is labeled. EX: CF_919

CMPAFilmPost– 1_Project – Class – Show – 0_Media – 2_Audio – Production_Audio – Day – Card_#

Move the CSV files which are the Digital Sound Reports from the audio folder to the reports folder. Once its in the reports folder either slack or email the Digital Sound Report to the shows producer.

CMPAFilmPost– 1_Project – Class – Show – 0_Media –3_Reports

Copy the video from the Red Mini Mag to the OCF folder on CMPAFilmPost. Inside the day folder you will need to create a folder specific to what each card is labeled. EX: SSD_66

CMPAFilmPost– 1_Project – Class – Show – 0_Media – 1_Video – OCF – Day – Card_#

Triple-check that the media from from each card has fully transferred to the appropriate folders. You have the show in your hands here and it would be disastrous if you deleted it accidentally! 

The CF cards will need to be erased after you have confirmed their transfer to CMPAFilmPost. Remember to empty the trash after deleting the sound card media as that is the only way to free up space on the card. You do not need to erase the Red Mini Mags as they will be reformatted the next time they are put in the camera. If you still have more days of production to go, you will return them to the Producer on set the next day. If it’s the final day of production, please leave all the media cards for your show in your assigned suite. The post staff will turn them around to the Head of Production.

Import Media into Premiere

Navigate to the following folder on the CMPAFilmPost to open the Premiere Project.

CMPAFilmPost – Projects – Class – Show – 1_Picture – 1_Premiere

The bin structure is already setup for you and must be maintained. 

Import the ProRes Quicktimes into the appropriate bin.

03_Footage – Production – Day

Import theWAV files into the appropriate bin.

02_Audio – Production – Day
Synchronize Clips

Use the “merge clips” command in Premiere to sync the audio and video together. To make this easier you should create a keyboard shortcut for the “merge clips” command.

Select “Keyboard Shortcuts” from the drop down.
Type “merge” in the spyglass window to find the “merge clip” command.
Set “control + m” for the shortcut.

Double-click on the first video clip to open it in the Source Panel. Make note of the setup and take numbers that are on the slate.

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Scroll up to the Audio bin and find the corresponding audio files that are labelled with the same setup and take numbers. Each take will have between one to four separate .wav files depending on how many microphones were used on set. More than likely, each take will have three separate WAV files (boom, radio, radio).Paragraph

Command-select all the corresponding video and audio clips. With all your assets for the take highlighted use hit “control + m” to use your shortcut for “merge clips”.

A window will appear asking how to merge them:

  • Name the merged clip after the setup and take number (e.g., 2A_1)
  • Set the Synchronize Point as “Timecode”
  • Check “Remove Audio from AV Clip”
  • Click “OK”

The newly merged clip will appear in the project panel outside of any folder. Open the merged clip in the Source Panel and confirm that it’s correctly synchronized. You can check this by watching the clapper one frame at a time. You have a margin of error of one frame. The merged clip can be off by one frame and still be acceptable. If the sync is good, scroll to the footage bin and change the label color on the clip you just merged (to help you remember how many you have done).  

If for some reason the sync is wrong delete the merged clip and start again. Most likely it’s a case of highlighting the wrong takes and trying to merge them. It’s also possible that the sound mixer accidentally mislabelled a sound file, which will take a little detective work to locate the correct file.

If that does not work, then you will need to sync manually by setting in-points on the corresponding audio and video files (or out-points, if a shot was tail-slated).

Open the video clip in the Source Panel and set an in-point on the first frame when the sticks are together.

Open each of the corresponding audio files in the Source Panel and set an in-point on the first frame that you can hear the clapper.

Command-select all the corresponding video and audio clips. With all your assets for the take highlighted, use your shortcut for “merge clips”.

A window will appear asking how to merge them:

  • Name the merged clip after the setup and take number (e.g., 3A_1)
  • Set the Synchronize Point as “In Points”
  • Check “Remove Audio from AV Clip”
  • Click “OK”

To check the sync on a clip you merged manually, you will need to place it into a sequence and extend the head of the clip to get some pre-roll to the clapping sound. Once you have checked it for sync delete the clip from the sequence.

If the sync is still incorrect, seek help from the Post Staff.

If you come across a clip that was labelled “MOS” on the slate, it means there are no corresponding audio files to sync. Instead, you should right-click on the clip to duplicate it. Then, rename the duplicate version whatever it was slated, with a suffix of “_MOS” (e.g., 3B_1_MOS). Then, move the duplicate version out of the Production Footage bin, so that it is grouped with all the merged clips.

Organize Media in Premiere

After everything has been synchronized successfully, move the merged clips into the appropriate Scene bins.

Then fill in a brief description for each clip. This should be able to be found on the paper camera reports. We are not looking for a sentence but rather shorthand that can be used by the editor.

Build the Dailies Sequence

For each day of production, you will build a dailies sequence that includes all of the footage shot for that day, as well as a master dailies sequence that includes all the footage shot for the entire show. Under01_Sequences – Dailies you will find the prebuilt sequences.

Organize the merged clips in scene order (story order) and, within each scene, place the shots in the following order:

  1. Wide shots
  2. Medium shots
  3. Close-ups
  4. Inserts
  5. Charts

Since sound starts rolling before picture on set, you’ll notice that there’s excess audio media at the head (and sometimes also the tail) of each shot.

You’ll want the head and tail of each audio clip to line up with the head and tail of the video. To trim the audio, hold down Option and drag the head or tail of the audio track. The trimmed sequence should look like this.

Makea 5 second Slate to begin the dailies sequence and fill it out as below.

Once you have finished building the dailies sequence, create an adjustment layer and drag over the clips and apply the LUT.

Applying LUT

All the OCF files are shoot in LOG which is great for color correction but means that without being modified with a LUT they appear flat.

OCF video file in LOG

To make sure the dailies sequence and assembly edits don’t appear flat like this you will need to make an adjustment layer and stretch it over the entire sequence on video track 2.

Adjustment layer over the sequence.

Select the adjustment layer and go to the Lumetri controls and under “Basic Correction” you can select an “Input LUT” from the dropdown menu to apply to it.

Select “RWG_Log3G10 to 709_BT1886 with MEDIUM_CONTRAST and R_2_Medium size_33 v1.13”

RWG_Log3G10 to 709_BT1886

Once the LUT is applied to the adjustment layer all of the OCF footage underneath will appear normal.

OCF video file in LOG with LUT applied
Exporting the Dailies Sequence

Once the dailies sequence is fully built, export the sequence to Frame.io using these instructions. Upload to the appropriate day’s Dailies folder in Frame.io and point the render to the appropriate folder on CMPAFilmPost.      

CMPAFilmPost – 1_Projects – Class – Show – 1_Picture – 2_Dailies_Exports

It is the AE’s responsibility to have the previous days dailies ready on Frame.io for the director to review at lunch every day.

Exporting the Assembly

You will also be building an assembly sequence that can be found in the cuts bin inside Premiere. This does not need to be elaborate or take a lot of time. But you do need to be building a very rough assembly of the film as each day goes along. This can be labeled, exported and uploaded just like the dailies sequences.

It is the AE’s responsibility to have the previous days assembly ready on Frame.io for the director to review at lunch every day.

Editors Notebook

Watch the exported QuickTime file to check for errors and to fill out the relevant fields of the Dailies Screening Notes form. Each form has spaces for the Date Shot, Scene Number, Take Number, which you can enter in the order that the shots are arranged in the dailies sequence. You can also note if the shot was sync or MOS, if it was a series take, and if it was the “best take,” a “good” take, or “no good.” Within the text box for each shot, you should also include a brief technical description (i.e., WS, MCU, Dolly into an ECU, etc.) and note any obvious technical flaws.

Hole punch all of the screening notes and assemble along with the camera and sound reports in a three ring binder. Label the outside with the show number and name.

Wrap Up

After the final day of production the AE should ensure that everything is sync and the Premiere Project is ready for Editorial to begin. Save the Premiere Project and close it.

All of the sound and camera cards used in the production should be left on the desk of the assigned edit suite. The finished editors notebook should be left on the desk as well.

Assistant Editing Workflow (MFA On Set)

Overview

The Assistant Editor (AE) works for the Editor and is responsible for managing the media as it enters into the editorial phase of post-production. The key tasks are to:

  • Setup the AE and Media Bay kit
  • Offload media
  • Import media into Premiere
  • Synchronize clips
  • Organize media in Premiere
  • Organize Script Supervisor notes
  • Build, export, and review dailies sequences
  • Compile the Editor’s notebook

Offload Media

The AE will retrieve the Red Mini Mags (containing the video) , the CF cards (containing the audio), and the camera reports at regular intervals throughout the day. It is very important that sound and picture cards are offloaded concurrently. It is also important that production turns over media at realistic intervals to allow the AE to work effectively on set. 

Insert the cards into the corresponding readers, they will mount like an external hard drive and appear on the desktop.

CF Card containing Sound
Red Mini Mag Containing Video

The Media Bay will have two separate solid state drives always mounted to the desktop. You will need to offload every camera and sound card to BOTH drives. This way the media will aways be in two separate places. That way, in the slim chance that something goes wrong with one drive, the media will always be safe on the other one.

Backup 1 and Backup 2

Copy the audio from the CF card to the appropriate folder on Backup 1 AND Backup 2. Inside the day folder you will need to create a folder specific to the roll and the card. Ex:(03_CF_912) That would be the third sound roll and it was on CF card number 912.

Sound Day 1 Example
Sound Day 2 Example

Next, copy the video from the Red Mini Mag to the appropriate folder on Backup 1 AND Backup 2. Just like with the sound card , inside the day folder you will need to create a folder specific to the roll and the card. Ex:(03_SSD_61) That would be the third camera roll and it was on SSD card number 61.

Camera Day 1 Example
Camera Day 2 Example

After you have offloaded camera and sound cards to both backup drives you may then safely eject them from the card readers.

Do not return these to production until you have sunc the footage and performed a QC in premiere.

When that is complete, the CF sound card will need to be erased. Remember to empty the trash after deleting the sound card media as that is the only way to free up space on the card. The camera card does not need to be erased as it will be reformatted in the camera.

Import Media into Premiere

Navigate to the following folder on Backup 1 to open the Premiere Project.

Premiere Project Example

The bin structure is already setup for you and must be maintained. 

Import theWAV files into the appropriate bin.

02_Audio – Production – Day

Import the ProRes Quicktimes into the appropriate bin. Do not import the R3D files into premiere. To make this easier you may want to highlight them in a finder window and then drag them into Premiere to import.

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03_Footage – Production – Day

Check the audio and video clips in premiere against the camera and sound reports to make sure their is no discrepancy in the amount of media.

Synchronize Clips

Use the “merge clips” command in Premiere to sync the audio and video together. To make this easier you should create a keyboard shortcut for the “merge clips” command.

Select “Keyboard Shortcuts” from the drop down.
Type “merge” in the spyglass window to find the “merge clip” command.
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Set “control + m” for the shortcut.

Double-click on the first video clip to open it in the Source Panel. Make note of the setup and take numbers that are on the slate.

Scroll up to the Audio bin and find the corresponding audio files that are labelled with the same setup and take numbers. Each take may have multiple .wav files depending on how many microphones were used on set. More than likely, each take will have three separate WAV files (boom, radio, radio).

Command-select all the corresponding video and audio clips. With all your assets for the take highlighted use hit “control + m” to use your shortcut for “merge clips”.

A window will appear asking how to merge them:

  • Name the merged clip after the setup and take number (e.g., 2A_1)
  • Set the Synchronize Point as “Timecode”
  • Check “Remove Audio from AV Clip”
  • Click “OK”

The newly merged clip will appear in the project panel outside of any folder. Open the merged clip in the Source Panel and confirm that it’s correctly synchronized. You can check this by watching the clapper one frame at a time. You have a margin of error of one frame. The merged clip can be off by one frame and still be acceptable. If the sync is good, scroll to the footage bin and change the label color on the clip you just merged (to help you remember how many you have done).  

If for some reason the sync is wrong delete the merged clip and start again. Most likely it’s a case of highlighting the wrong takes and trying to merge them. It’s also possible that the sound mixer accidentally mislabelled a sound file, which will take a little detective work to locate the correct file.

If that does not work, then you will need to sync manually by setting in-points on the corresponding audio and video files (or out-points, if a shot was tail-slated).

Open the video clip in the Source Panel and set an in-point on the first frame when the sticks are together.

Open each of the corresponding audio files in the Source Panel and set an in-point on the first frame that you can hear the clapper.

Command-select all the corresponding video and audio clips. With all your assets for the take highlighted, use your shortcut for “merge clips”.

A window will appear asking how to merge them:

  • Name the merged clip after the setup and take number (e.g., 3A_1)
  • Set the Synchronize Point as “In Points”
  • Check “Remove Audio from AV Clip”
  • Click “OK”

To check the sync on a clip you merged manually, you will need to place it into a sequence and extend the head of the clip to get some pre-roll to the clapping sound. Once you have checked it for sync delete the clip from the sequence.

If the sync is still incorrect contact the Post Production Supervisor.

If you come across a clip that was labelled “MOS” on the slate, it means there are no corresponding audio files to sync. Instead, you should right-click on the clip to duplicate it. Then, rename the duplicate version whatever it was slated, with a suffix of “_MOS” (e.g., 3B_1_MOS). Then, move the duplicate version out of the Production Footage bin, so that it is grouped with all the merged clips.

Organize media in Premiere

After everything has been synchronized successfully, move the merged clips into the appropriate Scene bins.

Organize Script Supervisor notes

At the end of each day, after the Script Supervisor has uploaded their notes to the Locket Network, download them so they can be imported into Premiere and entered into the metadata of the individual shots.

Open a web browser and go to lockitnetwork.com:

Click the login button and enter the username and password for the school’s account. (Check with the Post Staff if you do not know the login credentials.)

In the project dropdown select your project.

Select the “Reports” tab. Before proceeding make sure to select “All Shooting Days”, “PDF”, and “English”, then download:

  • Editor’s Log
  • Facing Page
  • Shot Log
  • Lined Script

When they are downloaded move them to the “Lockit Notes” folder alongside your Premiere Project Backup 1. Email a copy of them to the shows producer. 

Locket Notes Example

In Premiere, open the “PDF viewer” extension.

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Dock the PDFviewer Panel next to Effect Controls Panel.

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Click the upload button and import the four documents. Each one will have to go in a separate tab. You can hit the plus button to make all four tabs.Paragraph

When they are all imported it will look like the example below.

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Next, you’ll need to customize how metadata is displayed in the Project Panel, so that the necessary columns are visible. Right-click on the tab for the Project Panel and select “Metadata Display…” from the menu.Image

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Search for “Description” and confirm that the first box is checked. Then search for “Comment” and check the first box.

Once you have both a “Description” and a “Comment” column, you can drag them next to the “Name” column in the Project Panel.

Open the Facing Page tab in PDFviewer. For each shot, copy-and-paste the “Shot Description” from the Facing Page document into the “Description” field on the merged clip. And copy-and-paste the “Take Comment” from the Facing Page document into the “Comment” field on the merged clip.

Build the Dailies Sequence

Under 01_Sequences – Dailies you will find the prebuilt sequence. Everything shot from the entire show will be put into this one sequence. Please do not separate each days footage into separate sequences or omit any material.

Organize the merged clips in scene order (story order) and, within each scene, place the shots in the following order:

  1. Wide shots
  2. Medium shots
  3. Close-ups
  4. Inserts
  5. Charts

Since sound starts rolling before picture on set, you’ll notice that there’s excess audio media at the head (and sometimes also the tail) of each shot.

You’ll want the head and tail of each audio clip to line up with the head and tail of the video. To trim the audio, hold down Option and drag the head or tail of the audio track. The trimmed sequence should look like this.

Makea 5 second Slate to begin the dailies sequence and fill it out as below.

Exporting the Dailies Sequence

At the end of production, after everything has been sunc and organized in the dailies sequence, export the sequence to Frame.io using these instructions. Upload to the appropriate Dailies folder in Frame.io and point the render to save locally in the “Dailies Export” folder, alongside your Premiere Project on Backup 1.      

Since the AE is already on set, their is no need to export dailies for review while still in production. The ATL can view the dailies or the assembly edit right in Premiere.

Review the dailies sequence

Prior to screening dailies Faculty in the HD suite, watch the exported QuickTime file to check for errors and to fill out the relevant fields of the Dailies Screening Notes form. Each form has spaces for the Date Shot, Scene Number, Take Number, which you can enter in the order that the shots are arranged in the dailies sequence. You can also note if the shot was sync or MOS, if it was a series take, and if it was the “best take,” a “good” take, or “no good.” Within the text box for each shot, you should also include a brief technical description (i.e., WS, MCU, Dolly into an ECU, etc.) and note any obvious technical flaws. Leave enough space to capture the Director’s notes as well during the dailies screening.

These notes should be hole punched and compiled in a labeled three ring binder to make the AE Binder.

Wrap

Once you have confirmed that the dailies sequence has exported properly and your screening notes in the AE Binder are complete you are done. Return the completed editors notebook and the media cards into the assigned cubby in the ingest room. Leave the two (the AE Kit and The Media Bay) in the ingest room for safe keeping. The post staff will transfer your work from the Media Bay to the SAN.

Picture Lock

At the end of the picture edit cycle, the Editor and Director will be assigned a time to formally lock picture. This means that the Lock Sequence must be completed by that time and the appropriate fields must be filled out in Motion.

Once picture locking is complete, the Editor and Director will work with the Post Staff to prep the film for the next phases of the post-production chain, which includes turn over for sound, color correction, and (if relevant) visual effects.

Create the Locked sequence

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

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

Your locked sequence settings should be as follows:

Build the front sequence

All locked sequences must have a “front sequence” at the start of the timeline that is formatted to Academy standards. This involves setting the sequence timecode to begin at 00:59:00:00 and building a front sequence that includes 30 seconds of bars-and-tone, 30 seconds of slate, the Academy leader (i.e., the countdown), and the FSU leader.

To begin, locate the front sequence materials (bars-and-tone, countdown, and FSU leaders).

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

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

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

At 00:59:00:00 on the timeline, insert the 30-second bars-and-tone clip from the Front Sequence bin.

At 00:59:30:00 on the timeline, insert a 30-second slate. You’ll need to create the slate yourself, using the title tool in Premiere Pro. Please keep it professional and include all the pertinent info:

At 01:00:00:00, insert the 8-second countdown from the Front Sequence bin. If everything is put together correctly, the “two-pop” on the countdown leader will fall exactly on 01:00:06:00. (This is very important!)

At 01:00:08:00, insert one of the 8-second FSU leaders from the Front Sequence bin.

At 01:00:16:00, line up the first frame of content to start there.

Your completed front sequence should now look like this:

Add titles and credits

The College has strict requirements for how titles and credits need to be formatted. Before building your titles, read the requirements here.

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

The second-to-last thing in the end credits should be a 2-second logo card. Select the card shown in the example below.

The last thing in the end credits should be a 2-second copyright card with your title treatment written above if. Double-check that the card has the correct copyright year.

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. In addition you will have a track for your LUT and your Aspect Ratio Mask. The idea is to reduce the amount of tracks and media as much as possible and the end result should look something like this.

QC the locked sequence

The Director/Editorother problems. Once your picture is locked it is locked!

Save the project

Lastly, once you are confident that you’re locked sequence is formatted correctly and ready for conforming and turnover, save a new version in your projects finishing folder, but add “Locked” to the file name.

Reference Video

So you have something to watch while in Sound Design and to assist you in conforming bin Resolve and checking VFX you will need to export a video reference file. This video video will be exported to the Reference folder under Sound as shown below and will be labeled “Show#_Reference”

Under Export Settings for video you will set it as shown below.
-Format: Quicktime
-Video Codec: Apple ProRes 422 LT
-Resolution: 1920×1080
-Frame Rate: 24

Under the Audio tab make sure it is set as shown below.
-Audio Codec: Uncompressed
-Sample Rate: 48000Hz
-Sample Size: 24 bit

Under the Effects tab make sure it is set as shown below so that the reference video has timecode and a name burned into it. “Name Overlay” and “Timecode Overlay” should both be checked.

-Name Overlay: Formate should be set to “Output File Name and then position it from top to bottom.
-Timecode Overlay: Time Source should be set to generate timecode. Format set to 24 fps Timecode. And Start at ; 00:59:00:00

If you set everything correctly the timecode and name burn in should appear in the Output Window as shown below. Notice the timecode burn in matches the timecode of the playhead exactly.

Once everything is set properly you can export the reference to the correct folder.

Sound Turnover

Next you will need to export an AAF file to get your sound into ProTools. Duplicate your “Locked” sequence and Label the new Sequence “Show#_Sound_Turnover”

Delete all the video in this new sequence leaving only the audio tracks.

Then select Export AAF from the File Menu.

Set the AAF Export Settings EXACTLY as shown in the example below. If set this incorrectly you will have problems in sound design so take your time.

Export this AAF file to the AAF folder under Sound and label it “Show#_Sound_Turnover”

Once the Reference Video and the AAF are exported to the proper folders as shown below you are finished turning over for Sound.

Color Turnover

Duplicate your “Locked” sequence again and label the new Sequence “Show#_toResolve”.

Delete all the audio tracks. Also delete anything in the video tracks that does not need to be color corrected. This means delete, the aspect ratio matte, the LUT, any titles, the front sequences, and any credits. When you are done you should be left with a simple sequence with only your Log footage as shown below.

Then select Export XML from the File Menu.

Export this XML file to the XML folder under Color and label it “Show#_toResolve”.

In the finder copy and paste your Reference Video so taht it is also in the Reference folder under Color. Once the Reference Video and the XML are in the proper folders as shown below you are finished turning over for Color.

VFX Turnover

Duplicate your “Locked” sequence again and label the new Sequence “Show#_VFX_Turnover”.

Delete all the audio tracks. Also delete anything in the video tracks that is not either a VFX element that needs to be turned over or the LUT. When you are done you should be left with a simple sequence with the LUT on top and only your VFX shots as shown below.

Mark In and Out for each of your VFX shots as shown below taking note of what the clip is labeled. In the example below it is “3J_1”

Export each VFX element as a DPX Sequence with the settings shown below.

Set the Export Settings EXACTLY as shown in the example below. If set this incorrectly you will have problems in VFX so take your time.

Label the DPX Sequence as shown in the example making sure to include a underscore after the name. Make a folder for each DPX Sequence in the Out folder of VFX as shown in the example below.

When the export is completed the DPX sequence should look like the example below.

To test that your DPX sequence was exported properly, reimport them back into Premiere and lay them over the original footage in the timeline. They should be the exact same length and you should be able to google your DPX Sequence on and off and not see any chance compared to the OCF underneath.

Once you have exported every shot that you need as a VFX element you are done. If you have any questions about VFX turnover please consult the VFX faculty.

Assistant Editor Workflow (F3)

Overview

Synching is to be performed by the Assistant Editor (AE) on an assigned machine in the post hall. Look to the crew grid for the location and time.  The key tasks are to:

  • Import media into Premiere
  • Synchronize clips
  • Organize media in Premiere
  • Build, export, and review dailies sequences
  • Compile the Editor’s notebook

Media

Your Video and Audio files will already be copied to the server.

The audio will be saved here.

The video will be saved here.

Premiere Project

The Premiere project also lives on the server. You can find it in your show folder.

The bin structure is already setup for you and must be maintained. 

Import the ProRes Quicktimes into the appropriate bin.

03_Footage – Production – Day

Import theWAV files into the appropriate bin.

02_Audio – Production – Day

Synchronize Clips

Use the “merge clips” command in Premiere to sync the audio and video together. To make this easier you should create a keyboard shortcut for the “merge clips” command.

Select “Keyboard Shortcuts” from the drop down.
Type “merge” in the spyglass window to find the “merge clip” command.
Set “control + m” for the shortcut.

Double-click on the first video clip to open it in the Source Panel. Make note of the setup and take numbers that are on the slate.

Scroll up to the Audio bin and find the corresponding audio files that are labelled with the same setup and take numbers. Each take will have between one to four separate .wav files depending on how many microphones were used on set. More than likely, each take will have three separate WAV files (boom, radio, radio).

Command-select all the corresponding video and audio clips. With all your assets for the take highlighted use hit “control + m” to use your shortcut for “merge clips”.

A window will appear asking how to merge them:

  • Name the merged clip after the setup and take number (e.g., 2A_1)
  • Set the Synchronize Point as “Timecode”
  • Check “Remove Audio from AV Clip”
  • Click “OK” 

The newly merged clip will appear in the project panel outside of any folder.Open the merged clip in the Source Panel and confirm that it’s correctly synchronized. You can check this by watching the clapper one frame at a time. If the sync is good, scroll to the footage bin and change the label color on the clip you just merged (to help you remember how many you have done).

If for some reason the sync is wrong delete the merged clip and start again. Most likely it’s a case of highlighting the wrong takes and trying to merge them. It’s also possible that the sound mixer accidentally mislabelled a sound file, which will take a little detective work to locate the correct file. 

If that does not work, then you will need to sync manually by setting in-points on the corresponding audio and video files (or out-points, if a shot was tail-slated).

Open the video clip in the Source Panel and set an in-point on the first frame when the sticks are together.

Open each of the corresponding audio files in the Source Panel and set an in-point on the first frame that you can hear the clapper.

Command-select all the corresponding video and audio clips. With all your assets for the take highlighted, use your shortcut for “merge clips”.

A window will appear asking how to merge them:

  • Name the merged clip after the setup and take number (e.g., 3A_1)
  • Set the Synchronize Point as “In Points”
  • Check “Remove Audio from AV Clip”
  • Click “OK”

To check the sync on a clip you merged manually, you will need to place it into a sequence and extend the head of the clip to get some pre-roll to the clapping sound. Once you have checked it for sync delete the clip from the sequence.

If the sync is still incorrect, seek help from the Post Staff.

If you come across a clip that was labelled “MOS” on the slate, it means there are no corresponding audio files to sync. Instead, you should right-click on the clip to duplicate it. Then, rename the duplicate version whatever it was slated, with a suffix of “_MOS” (e.g., 3B_1_MOS). Then, move the duplicate version out of the Production Footage bin, so that it is grouped with all the merged clips.

Organize media in Premiere

After everything has been synchronized successfully, move the merged clips into the appropriate Scene bins.

Then fill in a brief description for each clip. This should be able to be found on the paper camera reports. We are not looking for a sentence but rather shorthand that you can use while editing to help you find what you need quickly. Later you add comments.

Build the Dailies Sequence

Under01_Sequences – Dailies you will find the prebuilt dailies sequence. Assemble the dailies sequence from the scene folders. It should include all the footage shot for the entire show.

Organize the merged clips in scene order (story order) and, within each scene, place the shots in the following order:

  1. Wide shots
  2. Medium shots
  3. Close-ups
  4. Inserts
  5. Charts

Since sound starts rolling before picture on set, you’ll notice that there’s excess audio media at the head (and sometimes also the tail) of each shot.

You’ll want the head and tail of each audio clip to line up with the head and tail of the video. To trim the audio, hold down Option and drag the head or tail of the audio track. The trimmed sequence should look like this.

Make a 5 second Slate to begin the dailies sequence and fill it out as below:

Finally you need to apply the proper LUT in an adjustment layer to make the Log footage look correct. Without an adjustment layer your footage will look washed out like the example below.

Create an adjustment layer and label it “Log_to_709” and save it in your “05_Misc” bin.

Then in the color page select the adjustment layer and go to “Input LUT” and “Browse”.

Select the “Medium/Medium” LUT from the Extras folder on the server.

Once applied the footage in the dailies sequence will look correct.

Exporting the Dailies Sequence

Once the dailies sequence is fully built, export the sequence to Frame.io using these instructions. Save it to the proper folder on the server as shown below and then Log into Frame.io and upload it to the proper show folder.    

Wrap Up

Contact your director and let them know that the dailies are ready for viewing on Frame.io. Setup a time with them to either watch them together or over zoom so you can discuss and make notes to prepare yourself for your fist day of picture editing. Remember that you both can add notes to the dailies sequence on frame.io so you can keep track of specific shoots or moments that you like.

When your all done contact the Post Supervisor to let them know you are finished. Then save and quite Premiere and log out of Frame.io. Congratulations! Your done.

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.