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Get Organized Before Your Video Edit
The document outlines essential strategies for video production organization, focusing on pre-shoot planning, field strategies, and managing assets for smooth workflow. Key topics include conducting site surveys, preparing for interviews, managing release forms, and efficient post-production practices. It emphasizes the importance of meticulous planning and storage management to maximize productivity and ensure effective editing processes.
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Get Organized Before Your Video Edit
- 1. Get Organized BeforeYour Edit Amy DeLouise | www.amydelouise.com Richard Harrington | RHED Pixel | www.RichardHarrington.com twitter.com/ rhedpixel twitter.com/ brandbuzz
- 2. Agenda ■ Learn aboutways to organize your footage ■ Start with field strategies ■ Organize assets from multiple sources ■ Plan a smooth workflow for managing interviews
- 3. Agenda ■ Integrate stockor archival images ■ Learn how to integrate graphics into your workflow ■ Plan for music mixing in or out of house
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- 5. Amy DeLouise ■ Interview-DrivenProductions ■ Branding & Messaging ■ Coaching Executives ■ Speaker/Facilitator ■ lynda.com Author
- 6. Richard Harrington ■ BroadcastNews ■ Music Journalism ■ Corporate Video ■ Issue Documentaries ■ Podcaster ■ Speaker/Facilitator ■ lynda.com Author
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- 10. What is aSite 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 inAdvance ■ Venue websites ■ Flickr ■ Google image search ■ Yelp ! ■ Foursquare ■ LightTrac ■ Google maps with Street View
- 12. Creative ■ What ■ Whatneeds to be captured ■ What should be shown ■ Why ■ What does the location do to accentuate the scene or story
- 13. Logistics ■ Where ■ Locationto shoot ■ Location to stage ■ When ■ Best time of day for light ■ Best time of day for sound ■ Location availability
- 14. Technical ■ How ■ Gearneeded ■ Crew needed ■ Special considerations ■ Test shots
- 15. The Purpose ■ Productionsare 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.
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- 17. Pre-Interviews ■ Determine interviewsubject’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 anInterview ■ 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 ResultsYou 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 ■ Conducta pre-interview by phone if possible ■ Use multiple background sources ■ Talk to “validators” ■ Know stories your subject is likely to tell
- 21. Share Keywords withEditor ■ Analyze the goals of project ■ Define themes and keywords ■ Incorporate into “dream soundbite” script ■ Useful to editor to drive tags and bin structure
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- 24. Release Forms ■ Getthe right form ■ Work with a lawyer ■ Ensure you have written permission ■ Always get hard copies ■ Appearance releases ■ Location releases
- 25. Release Forms ■ OtherRights Issues ■ Artwork ■ Sculptures ■ Architecture ■ Likeness
- 26. Release Apps ■ ASMP Releases ■Easy Release ■ iD RELEASE ■ iRelease ■ Release Me
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- 28. Shot Lists ■ Predictbin structures ■ Identify any archival image or sound needs in advance ■ Help identify crew size ■ Help with scheduling
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- 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 intothe 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 ScriptsOn Set
- 33. Using Electronic ScriptsOn Set ■ Always keep the latest script on set ■ Capture changes on-location ■ Add notes or metadata for the editor ■ Use of tablets works well
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- 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 & LoggingStrategies
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- 40. Adobe Prelude LiveLogger ■ 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 DigitalImaging 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
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- 47. Sync Sound ■ Usesync source ■ Record enhanced camera audio ■ Record “real” sound with professional microphones plugged into a mixer ■ Record to file-based recorder ■ Synchronize in postproduction
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- 49. Multi-Camera ■ Plan forthe shoot ■ Address Timecode Issues ■ Address Color Management ■ Log & Digitize ■ Synchronize ■ Create Multi-clips ■ Edit
- 52. Timecode Solutions ■ Studiocameras with house sync ■ Time of Day timecode ■ Slave cameras together ■ Use a clapboard ■ Audio sync point ■ Visual sync point
- 56. PluralEyes ■ Place videoon 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
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- 58. Transcripts ■ Transcripts areinexpensive 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
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- 61. Using Room Tone ■Always capture room tone ■ Always log room tone ■ Useful for smoothing out gaps in edit ■ Good for dynamic noise reduction
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- 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.
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- 68. Card Management InField
- 69. The Workflow ■ Transferto 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 GoodStorage ■ Main point of potential failure ■ Not all brands are equal ■ Video has different requirements ■ Capacity ■ Speed ■ Transfer speed considerations
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- 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.
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- 78. Transferring from FieldStorage ■ 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 ■ Primarilyused 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 ■ Useto 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 ■ Transcodedfootage 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
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- 88. Common Media FolderApproach ■ 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
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- 91. Adobe Prelude ■ Auseful tool designed for producers and media loggers ■ Ingest safely to multiple locations ■ Add metadata and comments to existing media ■ Compatible with all NLEs
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- 101. Color Coded Bins ■Use colors to indicate: ■ Media type ■ Status of items ■ Issues to resolve ■ Version control
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- 103. Additional Metadata ■ AdobeStory ■ Speech Analysis Tools ■ Best with transcript ■ Keyword spotting at minimum ■ Custom metadata and schema ■ Moves across projects and systems
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- 108. After the Edit ■Future-Proofing ■ Export Textless Version ■ Export Split Tracks ■ Archive Project
- 110. Getting In Touchwith 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 Touchwith 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 BeforeYour Edit Amy DeLouise | www.amydelouise.com Richard Harrington | RHED Pixel | www.RichardHarrington.com twitter.com/ rhedpixel twitter.com/ brandbuzz