Get Organized Before Your Video Edit
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Save time, money and agony with tips from the trenches by two of the industry's top workshop leaders and content producers who have spent many hours editing together. Learn about ways to organize your footage starting with how it's ID'd in the field. Learn strategies for organizing assets-particularly when you have to keep track from multiple sources. Plan a smooth workflow for managing interviews. Plan for prepping and integrating stock or archival images. You'll also learn how to integrate graphics into your workflow and plan for music mixing in- or out of house. A presentation from NAB by Amy DeLouise and Rich Harrington
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Get Organized Before Your Video Edit
- 1. Get Organized Before Your Edit Amy DeLouise | www.amydelouise.com Richard Harrington | RHED Pixel | www.RichardHarrington.com twitter.com/ rhedpixel twitter.com/ brandbuzz
- 2. Agenda ■ Learn about ways to organize your footage ■ Start with field strategies ■ Organize assets from multiple sources ■ Plan a smooth workflow for managing interviews
- 3. Agenda ■ Integrate stock or archival images ■ Learn how to integrate graphics into your workflow ■ Plan for music mixing in or out of house
- 5. Amy DeLouise ■ Interview-Driven Productions ■ Branding & Messaging ■ Coaching Executives ■ Speaker/Facilitator ■ lynda.com Author
- 6. Richard Harrington ■ Broadcast News ■ Music Journalism ■ Corporate Video ■ Issue Documentaries ■ Podcaster ■ Speaker/Facilitator ■ lynda.com Author
- 9. Site Surveys
- 10. What is a Site Survey? ■ A thorough review of a location to determine in readiness for use in a video or photo production ■ An opportunity to discover potential risks and opportunities ■ A chance to improve creative inspiration
- 11. Researching the Location in Advance ■ Venue websites ■ Flickr ■ Google image search ■ Yelp ! ■ Foursquare ■ LightTrac ■ Google maps with Street View
- 12. Creative ■ What ■ What needs to be captured ■ What should be shown ■ Why ■ What does the location do to accentuate the scene or story
- 13. Logistics ■ Where ■ Location to shoot ■ Location to stage ■ When ■ Best time of day for light ■ Best time of day for sound ■ Location availability
- 14. Technical ■ How ■ Gear needed ■ Crew needed ■ Special considerations ■ Test shots
- 15. The Purpose ■ Productions are expensive ventures, you want to maximize productivity ■ Preplanning asks the questions and determines the solutions before that expensive day comes ■ Takes the concept on paper and puts a real world face on it ■ Have a game plan in advance, schedule, shot list, etc.
- 17. Pre-Interviews ■ Determine interview subject’s attitudes ■ Find the best stories, know the worst ones too ■ Determine B-roll or photos you will need to cover ■ Define scenes and sound-bites in advance for improved nonfiction post workflow
- 18. Preparing for an Interview ■ Be Prepared ■ Plan your goals—short-term and future ■ Visualize outcomes/impact ■ Know your characters ■ Consider time, budget, comfort level of interviewee
- 19. Getting the Results You Want and Need ■ Write a draft “dream script” or treatment ■ Place “ideal” sound-bites that will work for your production ■ Consider intercutting multiple people telling one story ■ Plan for options on topic coverage
- 20. Conducting Pre-interviews ■ Conduct a pre-interview by phone if possible ■ Use multiple background sources ■ Talk to “validators” ■ Know stories your subject is likely to tell
- 21. Share Keywords with Editor ■ Analyze the goals of project ■ Define themes and keywords ■ Incorporate into “dream soundbite” script ■ Useful to editor to drive tags and bin structure
- 22. Field Strategies
- 23. Release Forms
- 24. Release Forms ■ Get the right form ■ Work with a lawyer ■ Ensure you have written permission ■ Always get hard copies ■ Appearance releases ■ Location releases
- 25. Release Forms ■ Other Rights Issues ■ Artwork ■ Sculptures ■ Architecture ■ Likeness
- 26. Release Apps ■ ASMP Releases ■ Easy Release ■ iD RELEASE ■ iRelease ■ Release Me
- 27. Shot Lists
- 28. Shot Lists ■ Predict bin structures ■ Identify any archival image or sound needs in advance ■ Help identify crew size ■ Help with scheduling
- 30. Setting Specs Early ■ Consider multiple purpose outputs ■ Define acquisition specs for shoot ■ Determine resolution and frame rate ■ Identify shooting formats ■ Shooting log or raw — make special note of it for post
- 31. Getting Info into the Camera ■ Define source ID of original camera media ■ Include initials of DP and date at a minimum ■ If your camera cannot add unique filenames, add a batch rename to your pre-edit workflow
- 32. Using Electronic Scripts On Set
- 33. Using Electronic Scripts On Set ■ Always keep the latest script on set ■ Capture changes on-location ■ Add notes or metadata for the editor ■ Use of tablets works well
- 35. Using Field Slates ■ Save aggravation and time in edit. ■ Key information: ■ Crew, lenses, scene, take # ■ Audio slates for room tone or other additional sound ■ Note sync sound workflows
- 38. Shooting & Logging Strategies
- 39. Live Logging
- 40. Adobe Prelude Live Logger ■ New app ■ Free (works with Premiere Pro) ■ Creates event based metadata ■ Can sync and merge for the edit session. ■ http://www.adobe.com/go/pllforum
- 44. Using a Digital Imaging Technician (DIT)
- 45. Using a DIT ■ Never edit directly off of field storage ■ Transfer all field assets to redundant media drives ■ Keep all field storage drives secure until project completion and archive ■ Field storage drives are like “tapes” on a shelf
- 46. Sync Sound
- 47. Sync Sound ■ Use sync source ■ Record enhanced camera audio ■ Record “real” sound with professional microphones plugged into a mixer ■ Record to file-based recorder ■ Synchronize in postproduction
- 48. Multi-Camera
- 49. Multi-Camera ■ Plan for the shoot ■ Address Timecode Issues ■ Address Color Management ■ Log & Digitize ■ Synchronize ■ Create Multi-clips ■ Edit
- 52. Timecode Solutions ■ Studio cameras with house sync ■ Time of Day timecode ■ Slave cameras together ■ Use a clapboard ■ Audio sync point ■ Visual sync point
- 56. PluralEyes ■ Place video on one track and audio on another track ■ Files synced based on sound, not timecode ■ Audio levels can be normalized ■ New files can be created ■ Huge timesaver
- 58. Transcripts ■ Transcripts are inexpensive and invaluable ■ Mark for multiple projects/versions ■ ID starting portions of key bites when you media manage ■ Import PDFs of transcripts and permission forms to live with source footage
- 59. Rapid Turn Transcripts ■ Record directly to MP3 on set ■ Use a hardware recorder ■ Record line feed ■ Many vendors available online
- 60. Using Room Tone
- 61. Using Room Tone ■ Always capture room tone ■ Always log room tone ■ Useful for smoothing out gaps in edit ■ Good for dynamic noise reduction
- 62. Smart Phone & GPS
- 63. Smart Phone & GPS ■ A plethora of useful apps for capturing set details ■ Panoramas for reference ■ GPS tagged images ■ PanaScout for location scouting
- 65. Clear Frames & Stand In
- 66. Clear Frames & Stand In ■ Shoot background plate for chromakey ■ Useful for pickups ■ Have someone stand-in to check composition and focus.
- 68. Card Management In Field
- 69. The Workflow ■ Transfer to Field Drive and Mirror ■ Determine Editing Format ■ Identify Storage Requirements ■ Transfer to an Edit Drive ■ Develop Transcoding Specs ■ Organize Media ■ Transcode Media ■ Edit
- 70. Importance of Good Storage ■ Main point of potential failure ■ Not all brands are equal ■ Video has different requirements ■ Capacity ■ Speed ■ Transfer speed considerations
- 71. 3-2-1 Backup
- 73. The 3-2-1 Rule ■ Keep 3 copies of any important file (a primary and two backups) ■ Keep the files on 2 different media types (such as hard drive and optical media), to protect against different types of hazards. ■ 1 copy should be stored offsite (or at least offline).
- 74. Transfer to Drive ■ Transfer to a reliable drive ■ Ideally you'll use a RAIDed and redundant drive, right away. ■ Make sure both transfers are complete before reformatting the cards. ■ Transferring also helps validate the data integrity of files and can prevent issues later with a corrupt clip.
- 77. Cards in Post
- 78. Transferring from Field Storage ■ Never edit directly off of field storage ■ Transfer all field assets to redundant media drives ■ Keep all field storage drives secure until project completion and archive ■ Field storage drives are like “tapes” on a shelf
- 79. Drobo B800i ■ Primarily used for video editing ■ Integrates with MacPro and iMac edit systems over Gigabit Ethernet ■ Edit multiple streams of HD content ■ Volumes by clients ■ We’ve had three editors work at same time off of a unit with HD multi-camera sources ■ Setup so two of eight drives can fail ■ Setup to email warnings
- 80. Drobo Pro ■ Use to archive tapeless acquisition ■ Resides in studio ■ Connected to single workstation ■ Editors mount as read-only volume and copy across to edit partition ■ Data scrubbed and verified with self- healing ■ Setup so two of eight drives can fail ■ Setup to email warnings
- 81. Drobo 5N & Drobo B800fs ■ Allows for file sharing ■ In use in graphics department ■ Allows for multiple user to share a pool of assets in a read-write environment ■ Ideal for motion graphics workflow ■ Also works with Time Machine on Mac ■ Editors can drop assets for graphics as well as pickup files.
- 82. Work Native vs. Transcoded
- 83. Storage Requirements ■ Transcoded footage typically has significantly higher data rate ■ Calculate for both camera original and transcoded footage ■ Media storage should be redundant ■ AJA’s Data rate calculator very useful for calculating storage requirements
- 84. Make Selects & Transcode ■ Transcode only selected footage ■ Reduces transcode time ■ Removes extraneous footage ■ Reduces storage burden
- 85. Renaming Files ■ Optional ■ Can use descriptive names ■ Adobe Bridge ■ Includes batch rename option ■ Can preserve original name in metadata for future
- 86. Post Strategies
- 88. Common Media Folder Approach ■ 01_Original Footage ■ Card images or cloned copies ■ 02_Selects ■ Footage picks ■ Adapt as needed
- 89. Common Media Folder ■ Get organized at the drive level ■ Parity between project and folder ■ Important with cross-application workflow ■ Reduces duplicate media ■ Improves backup process
- 90. Adobe Prelude
- 91. Adobe Prelude ■ A useful tool designed for producers and media loggers ■ Ingest safely to multiple locations ■ Add metadata and comments to existing media ■ Compatible with all NLEs
- 99. Color Coded Bins
- 101. Color Coded Bins ■ Use colors to indicate: ■ Media type ■ Status of items ■ Issues to resolve ■ Version control
- 102. Additional Metadata
- 103. Additional Metadata ■ Adobe Story ■ Speech Analysis Tools ■ Best with transcript ■ Keyword spotting at minimum ■ Custom metadata and schema ■ Moves across projects and systems
- 107. After the Edit
- 108. After the Edit ■ Future-Proofing ■ Export Textless Version ■ Export Split Tracks ■ Archive Project
- 110. Getting In Touch with Rich twitter.com/rhedpixel facebook.com/ RichHarringtonStuff plus.google.com/ +RichardHarrington/ linkedin.com/in/ richardharrington RichardHarrington.com vimeo.com/rhedpixel www.pinterest.com/ rhedpixel/
- 111. Getting In Touch with Amy twitter.com/brandbuzz plus.google.com/ +AmyDeLouise/ linkedin.com/in/ amydelouise AmyDelouise.com vimeo.com/amydelouise
- 113. Drobo 5N Drobo 5D Drobo (3rd Generation)
- 114. 1. Follow twitter.com/rhedpixel 2. Follow twitter.com/drobo 3. Tweet “I want to win a @drobo from @rhedpixel at #NABshow”
- 115. Get Organized Before Your Edit Amy DeLouise | www.amydelouise.com Richard Harrington | RHED Pixel | www.RichardHarrington.com twitter.com/ rhedpixel twitter.com/ brandbuzz