Video editors create rough cuts on a scene-by-scene basis, working on each scene individually and then re-inserting them into the master cut. Rough cuts ensure the more refined story or video progression makes sense while paring the stringouts down to a manageable length. Rough cuts are the next iteration of video production. The editors then view the stringouts while making notes or adding markers to the timeline. Sometimes these assistants are so busy, they have assistants of their own! And that job is to focus on building the story with the director. Assistant editors at this time also sync audio, organize files into bins, isolate all usable takes, and perform any extra requests required by the editor to do their job.It shows the video’s basic progression by scene, without music or effects. A stringout is an extremely rough draft of raw video that hasn’t yet been edited or refined. Assistant editors then arrange selects into a sequence of shots in your NLE timeline, known as a stringout (or assembly edit or KEM roll).Tagging the correct tape ID is super important later in the online editing and conforming process. Sometimes assistant editors will further tag and categorize selects based on the lead editor’s preferences. Once files are imported into the NLE after assistant editors scout all clips for the best takes - a process called “pulling selects”.Using offline editing software means the original content is not modified until re-linked to the edited files (more on this later). Offline editing allows editors to use lower-resolution footage to make their edits. The next job for assistant editors is to import the right files into the team’s non-linear editing (NLE) software, which is an offline editing software. Organizing, pulling selects, building stringouts ![]() In today’s cloud-based media workflows, it’s common to upload dailies into a review and approval tool like Frame.io for instant feedback. The most common are:Įditing codecs, on the other hand, include: DNxHD, DNxHR, and ProRes 422/444. ![]() There are hundreds of different codecs you can use to compress your files. Meanwhile, the full raw footage is shipped. Oftentimes, DITs or data wranglers will send video proxies over the cloud so the editorial team can get started right away. Transcoding helps make file transfer over the cloud more manageable. If the files are being delivering on a hard drive via courier, they don’t need to be transcoded beforehand. You’ll need to transcode that footage by rendering a codec to the original footage, which then converts the footage into lower-resolution files (transcoding). ![]() Raw footage from the field is too big and cumbersome to work with efficiently. To keep everyone consistent, it can be helpful for the post supervisor and editor to develop and distribute a technical specifications sheet. Project folder naming conventions can also help video editors find clips faster by organizing all your files by scene, sequence, and shot.Įnsure all your collaborators understand how consistency benefits them down the road. You can make your video and audio files more searchable through sensible file naming conventions, such as the international standard of ISO 8601: YYYY-MM-DD. Don’t forget the sound report and circled takes from your director. If your director or director of photography (DP) have shots they particularly like, ask them to indicate that in the shot log. The shot log can include helpful information attached to each file, such as: To give yourself a head start, ask camera crews in the field to include a shot log with any footage you receive. It’s an overlooked step that can save teams hundreds of hours. Once footage arrives at the post-production house, staying organized from a file management perspective is crucial.
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