Get Organized 

Before Your Edit
Amy DeLouise | www.amydelouise.com
Richard Harrington | RHED Pixel | www.RichardHarringto...
Agenda
■ Learn about ways to organize your footage
■ Start with field strategies
■ Organize assets from multiple sources
■ ...
Agenda
■ Integrate stock or archival images
■ Learn how to integrate graphics into your workflow
■ Plan for music mixing in...
 

About Your Presenters
Amy DeLouise
■ Interview-Driven Productions
■ Branding & Messaging
■ Coaching Executives
■ Speaker/Facilitator
■ lynda.com...
Richard Harrington
■ Broadcast News
■ Music Journalism
■ Corporate Video
■ Issue Documentaries
■ Podcaster
■ Speaker/Facil...
Pre-Shoot Planning
Site Surveys
What is a Site Survey?
■ A thorough review of a location to
determine in readiness for use in a
video or photo production
...
Researching the
Location in Advance 
■ Venue websites
■ Flickr
■ Google image search
■ Yelp
!
■ Foursquare

■ LightTrac
■ ...
Creative
■ What
■ What needs to be captured
■ What should be shown
■ Why
■ What does the location do to
accentuate the sce...
Logistics
■ Where
■ Location to shoot
■ Location to stage
■ When
■ Best time of day for light
■ Best time of day for sound...
Technical
■ How
■ Gear needed
■ Crew needed
■ Special considerations
■ Test shots
The Purpose
■ Productions are expensive ventures,
you want to maximize productivity
■ Preplanning asks the questions and
d...
Pre-interviews and “Pre-Scripting”
Pre-Interviews
■ Determine interview subject’s attitudes
■ Find the best stories, know the worst ones too
■ Determine B-ro...
Preparing for an Interview
■ Be Prepared
■ Plan your goals—short-term and future
■ Visualize outcomes/impact
■ Know your c...
Getting the Results You
Want and Need
■ Write a draft “dream script” or treatment
■ Place “ideal” sound-bites that will wo...
Conducting Pre-interviews
■ Conduct a pre-interview by phone if possible
■ Use multiple background sources
■ Talk to “vali...
Share Keywords with Editor
■ Analyze the goals of project
■ Define themes and keywords
■ Incorporate into “dream soundbite”...
Field Strategies
Release Forms
Release Forms
■ Get the right form
■ Work with a lawyer
■ Ensure you have written
permission
■ Always get hard copies
■ Ap...
Release Forms
■ Other Rights Issues
■ Artwork
■ Sculptures
■ Architecture
■ Likeness
Release
Apps
■ ASMP Releases
■ Easy Release
■ iD RELEASE
■ iRelease
■ Release Me
Shot Lists
Shot Lists
■ Predict bin structures
■ Identify any archival image or sound
needs in advance
■ Help identify crew size
■ He...
Setting Specs Early
Setting Specs Early
■ Consider multiple purpose outputs
■ Define acquisition specs for shoot
■ Determine resolution and fra...
Getting Info into the Camera
■ Define source ID of original camera
media
■ Include initials of DP and date 

at a minimum
■...
Using Electronic Scripts On Set
Using Electronic Scripts On Set
■ Always keep the latest script on set
■ Capture changes on-location
■ Add notes or metada...
Using Field Slates
Using Field Slates
■ Save aggravation and time in edit.
■ Key information:
■ Crew, lenses, scene, take #
■ Audio slates fo...
Shooting & Logging Strategies
Live Logging
Adobe Prelude Live Logger
■ New app
■ Free (works with Premiere Pro)
■ Creates event based metadata
■ Can sync and merge f...
Using a Digital Imaging Technician (DIT)
Using a DIT
■ Never edit directly off of field storage
■ Transfer all field assets to redundant
media drives
■ Keep all field...
Sync Sound
Sync Sound
■ Use sync source
■ Record enhanced camera audio
■ Record “real” sound with
professional microphones 

plugged ...
Multi-Camera
Multi-Camera
■ Plan for the shoot
■ Address Timecode Issues
■ Address Color Management
■ Log & Digitize
■ Synchronize
■ Cr...
Timecode Solutions
■ Studio cameras with house sync
■ Time of Day timecode
■ Slave cameras together
■ Use a clapboard
■ Au...
PluralEyes
■ Place video on one track and audio
on another track
■ Files synced based on sound, not
timecode
■ Audio level...
Rapid Turn Transcripts
Transcripts
■ Transcripts are inexpensive and
invaluable
■ Mark for multiple projects/versions
■ ID starting portions of k...
Rapid Turn Transcripts
■ Record directly to MP3 on set
■ Use a hardware recorder
■ Record line feed
■ Many vendors availab...
Using Room Tone
Using Room Tone
■ Always capture room tone
■ Always log room tone
■ Useful for smoothing out gaps in edit
■ Good for dynam...
Smart Phone & GPS
Smart Phone & GPS
■ A plethora of useful apps for
capturing set details
■ Panoramas for reference
■ GPS tagged images
■ Pa...
Clear Frames & Stand In
Clear Frames & Stand In
■ Shoot background plate for
chromakey
■ Useful for pickups
■ Have someone stand-in to check
compo...
Pre-Post Strategies
Card Management In Field
The Workflow
■ Transfer to Field Drive and Mirror
■ Determine Editing Format
■ Identify Storage Requirements
■ Transfer to ...
Importance of Good Storage
■ Main point of potential failure
■ Not all brands are equal
■ Video has different requirements...
3-2-1 Backup
The 3-2-1 Rule
■ Keep 3 copies of any important file 

(a primary and two backups)
■ 	Keep the files on 2 different media
ty...
Transfer to Drive
■ Transfer to a reliable drive
■ Ideally you'll use a RAIDed and
redundant drive, right away.
■ Make sur...
Cards in Post
Transferring from Field Storage
■ Never edit directly off of field storage
■ Transfer all field assets to redundant
media dr...
Drobo B800i
■ Primarily used for video editing
■ Integrates with MacPro and iMac edit
systems over Gigabit Ethernet
■ Edit...
Drobo Pro
■ Use to archive tapeless acquisition
■ Resides in studio
■ Connected to single workstation
■ Editors mount as r...
Drobo 5N & Drobo B800fs
■ Allows for file sharing
■ In use in graphics department
■ Allows for multiple user to share a poo...
Work Native vs. Transcoded
Storage Requirements
■ Transcoded footage typically has
significantly higher data rate
■ Calculate for both camera original...
Make Selects & Transcode
■ Transcode only selected footage
■ Reduces transcode time
■ Removes extraneous footage
■ Reduces...
Renaming Files
■ Optional
■ Can use descriptive names
■ Adobe Bridge
■ Includes batch rename option
■ Can preserve origina...
Post Strategies
Common Media Folder
Common Media Folder Approach
■ 01_Original Footage
■ Card images or cloned copies
■ 02_Selects
■ Footage picks
■ Adapt as ...
Common Media Folder
■ Get organized at the drive level
■ Parity between project and folder
■ Important with cross-applicat...
Adobe Prelude
Adobe Prelude
■ A useful tool designed for producers
and media loggers
■ Ingest safely to multiple locations
■ Add metadat...
Color Coded Bins
Color Coded Bins
■ Use colors to indicate:
■ Media type
■ Status of items
■ Issues to resolve
■ Version control
Additional Metadata
Additional Metadata
■ Adobe Story
■ Speech Analysis Tools
■ Best with transcript
■ Keyword spotting at minimum
■ Custom me...
After the Edit
After the Edit
■ Future-Proofing
■ Export Textless Version
■ Export Split Tracks
■ Archive Project
Getting In Touch with Rich
twitter.com/rhedpixel
facebook.com/
RichHarringtonStuff
plus.google.com/
+RichardHarrington/
li...
Getting In Touch with Amy
twitter.com/brandbuzz
plus.google.com/
+AmyDeLouise/
linkedin.com/in/
amydelouise
AmyDelouise.co...
Drobo 5N	

Drobo 5D	

Drobo (3rd Generation)
1. Follow twitter.com/rhedpixel
2. Follow twitter.com/drobo
3. Tweet “I want to win a
@drobo from @rhedpixel at
#NABshow”
Get Organized 

Before Your Edit
Amy DeLouise | www.amydelouise.com
Richard Harrington | RHED Pixel | www.RichardHarringto...
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
Get Organized Before Your Video Edit
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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. 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. 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. 3. Agenda ■ Integrate stock or archival images ■ Learn how to integrate graphics into your workflow ■ Plan for music mixing in or out of house

  4. 4.  
 About Your Presenters
  5. 5. Amy DeLouise ■ Interview-Driven Productions ■ Branding & Messaging ■ Coaching Executives ■ Speaker/Facilitator ■ lynda.com Author
  6. 6. Richard Harrington ■ Broadcast News ■ Music Journalism ■ Corporate Video ■ Issue Documentaries ■ Podcaster ■ Speaker/Facilitator ■ lynda.com Author
  7. 7. Pre-Shoot Planning
  8. 8. Site Surveys
  9. 9. 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
  10. 10. Researching the Location in Advance  ■ Venue websites ■ Flickr ■ Google image search ■ Yelp ! ■ Foursquare
 ■ LightTrac ■ Google maps with 
 Street View
  11. 11. Creative ■ What ■ What needs to be captured ■ What should be shown ■ Why ■ What does the location do to accentuate the scene or story
  12. 12. Logistics ■ Where ■ Location to shoot ■ Location to stage ■ When ■ Best time of day for light ■ Best time of day for sound ■ Location availability
  13. 13. Technical ■ How ■ Gear needed ■ Crew needed ■ Special considerations ■ Test shots
  14. 14. 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.
  15. 15. Pre-interviews and “Pre-Scripting”
  16. 16. 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
  17. 17. 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
  18. 18. 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
  19. 19. 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
  20. 20. 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
  21. 21. Field Strategies
  22. 22. Release Forms
  23. 23. Release Forms ■ Get the right form ■ Work with a lawyer ■ Ensure you have written permission ■ Always get hard copies ■ Appearance releases ■ Location releases
  24. 24. Release Forms ■ Other Rights Issues ■ Artwork ■ Sculptures ■ Architecture ■ Likeness
  25. 25. Release Apps ■ ASMP Releases ■ Easy Release ■ iD RELEASE ■ iRelease ■ Release Me
  26. 26. Shot Lists
  27. 27. Shot Lists ■ Predict bin structures ■ Identify any archival image or sound needs in advance ■ Help identify crew size ■ Help with scheduling
  28. 28. Setting Specs Early
  29. 29. 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
  30. 30. 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
  31. 31. Using Electronic Scripts On Set
  32. 32. 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
  33. 33. Using Field Slates
  34. 34. 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
  35. 35. Shooting & Logging Strategies
  36. 36. Live Logging
  37. 37. 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
  38. 38. Using a Digital Imaging Technician (DIT)
  39. 39. 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
  40. 40. Sync Sound
  41. 41. 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
  42. 42. Multi-Camera
  43. 43. Multi-Camera ■ Plan for the shoot ■ Address Timecode Issues ■ Address Color Management ■ Log & Digitize ■ Synchronize ■ Create Multi-clips ■ Edit
  44. 44. Timecode Solutions ■ Studio cameras with house sync ■ Time of Day timecode ■ Slave cameras together ■ Use a clapboard ■ Audio sync point ■ Visual sync point
  45. 45. 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
  46. 46. Rapid Turn Transcripts
  47. 47. 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
  48. 48. Rapid Turn Transcripts ■ Record directly to MP3 on set ■ Use a hardware recorder ■ Record line feed ■ Many vendors available online
  49. 49. Using Room Tone
  50. 50. Using Room Tone ■ Always capture room tone ■ Always log room tone ■ Useful for smoothing out gaps in edit ■ Good for dynamic noise reduction
  51. 51. Smart Phone & GPS
  52. 52. Smart Phone & GPS ■ A plethora of useful apps for capturing set details ■ Panoramas for reference ■ GPS tagged images ■ PanaScout for location scouting
  53. 53. Clear Frames & Stand In
  54. 54. Clear Frames & Stand In ■ Shoot background plate for chromakey ■ Useful for pickups ■ Have someone stand-in to check composition and focus.
  55. 55. Pre-Post Strategies
  56. 56. Card Management In Field
  57. 57. 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
  58. 58. Importance of Good Storage ■ Main point of potential failure ■ Not all brands are equal ■ Video has different requirements ■ Capacity ■ Speed ■ Transfer speed considerations
  59. 59. 3-2-1 Backup
  60. 60. 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).
  61. 61. 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.
  62. 62. Cards in Post
  63. 63. 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
  64. 64. 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
  65. 65. 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
  66. 66. 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.
  67. 67. Work Native vs. Transcoded
  68. 68. 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
  69. 69. Make Selects & Transcode ■ Transcode only selected footage ■ Reduces transcode time ■ Removes extraneous footage ■ Reduces storage burden
  70. 70. Renaming Files ■ Optional ■ Can use descriptive names ■ Adobe Bridge ■ Includes batch rename option ■ Can preserve original name in metadata for future
  71. 71. Post Strategies
  72. 72. Common Media Folder
  73. 73. Common Media Folder Approach ■ 01_Original Footage ■ Card images or cloned copies ■ 02_Selects ■ Footage picks ■ Adapt as needed
  74. 74. 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
  75. 75. Adobe Prelude
  76. 76. 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
  77. 77. Color Coded Bins
  78. 78. Color Coded Bins ■ Use colors to indicate: ■ Media type ■ Status of items ■ Issues to resolve ■ Version control
  79. 79. Additional Metadata
  80. 80. Additional Metadata ■ Adobe Story ■ Speech Analysis Tools ■ Best with transcript ■ Keyword spotting at minimum ■ Custom metadata and schema ■ Moves across projects and systems
  81. 81. After the Edit
  82. 82. After the Edit ■ Future-Proofing ■ Export Textless Version ■ Export Split Tracks ■ Archive Project
  83. 83. 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/
  84. 84. Getting In Touch with Amy twitter.com/brandbuzz plus.google.com/ +AmyDeLouise/ linkedin.com/in/ amydelouise AmyDelouise.com vimeo.com/amydelouise
  85. 85. Drobo 5N Drobo 5D Drobo (3rd Generation)
  86. 86. 1. Follow twitter.com/rhedpixel 2. Follow twitter.com/drobo 3. Tweet “I want to win a @drobo from @rhedpixel at #NABshow”
  87. 87. Get Organized 
 Before Your Edit Amy DeLouise | www.amydelouise.com Richard Harrington | RHED Pixel | www.RichardHarrington.com twitter.com/ rhedpixel twitter.com/ brandbuzz

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