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Workflow 2012/13

For ATVF Primer class Sept. 26, 2011
by

Randall Kapuscinski

on 17 October 2013

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Transcript of Workflow 2012/13

ATVF Project Workflow 2012/13
3x3 Productions
Primer, September 26, 2012
Randall Kapuscinski, randall.kapuscinski@sheridanc.on.ca
http://www.filmmakersgarage.com

Conclusion
2nd Term Docs
Background
What is workflow?
selected technologies and the corresponding plan that will ensure successful completion of deliverables
also the 'living' process as you work from start to finish on your project
It is CRUCIAL that you follow 'best' practices with the workflow you design for your project!
Red One MX
Avid MC Nitris DX
Blu-ray Disc
Screening
QT File - Master
- same as source
- bars, tone
- picture start at 01:00:00:00
Post-Production
Production (1 day)
Finishing
Pre-Production
DMT Station
Editor
Transcoding!
(starts on-set,
may finish the next day)
Previsualization
Budgeting,
Scheduling,
Callsheet,
etc.
Sound + Producing Computer
iPad
2nd Term Dramas
P2 Cards
(DVCProHD codec)
?
Workflow will likely be similar to mini-docs but...
choice of camera system?
dual-system for audio?
VFX?
colour correction
stock-footage
more in-depth post-audio
MUCH more footage
4K 2:1 23.98fps
audio guide track
external TC
audio setting 24bit 48kHz
Build 30
Location Mixer
Sound Devices 442
XLR cable provides audio (line level)
guide track (mono mix - 1 channel)
jam timecode (LEMO)
Ambient ALC204
master TC (time of day)
& video syc
jam timecode
jam timecode
24 bit, 48kHz
4 tracks
Red mags walked over to DMT station
Editor's Copy
(drive provided by
producer - FW800,
>1TB, 7200rpm)
Producer's Copy
H.264 encode for iPad
Backup Copy #2
Backup Copy #1
Avid DNxHD 175X (10bit)
23.98fps
Camera
Reports
Sound
Reports
Continuity Reports
Daily ProductionReports
iPad
for reference &
access to reports
ProTools
Picture Edit (3 days)
Post Audio
Ingest and log
Sync audio
Assembly
Editor's 1st Cut
Director's Cut
Producer's Cut
Iteration at each stage
plus faculty review
Deliverables for Post-Audio
AAF 24bit 48kHz 23.976 (NOT AIFF!!!!)
1 x CMX3600 Video&Audio EDL (for VK Post Conforming)
QT reference - same as source - with timecode burn-in
bars, tone, countdown, start at 00:59:00:00, slug with info, 2-beep at 00:59:58:00, picture start at 01:00:00:00
files moved across via MX server
Backups of Avid project after each edit session
possible vk-post-conform
Dialogue Edit
Effects (collect and spot)
Music (from library or composer)
Foley
NO ADR!
Pre-mix
Final Mix
Iteration at each stage
plus faculty review
Backups of ProTools project after each session
Audio Layback
Final picture and final
audio are brought together.
video sync (BNC)
offload cards
backups (1 copy to DVD of raw media)
import to WaveAgent for meta-data tagging
files from WaveAgent burned to master DVD (x3 copies - 1 for producer, 1 for audio, 1 for editor)
generate PDF plus print Sound Report
audio files placed on MX
for editor to grab
(stereo file interleaved)
Audio Archival
QT movie with reference audio mix for approval
stem outputs (music, dialogue, foley)
final mix
Locked Picture
- one copy retained here
Location Recorder
Sound Devices 744T
- recording 4 tracks
(lav1,lav2,lav3,boom)
- records to HD and
CF cards
Location Audio Cart
Micron wireless
receivers
Microphones
- wireless lavaliers (x3)
- shotgun on boom
CF cards walked over to DMT station
Mailbox Delivery
to Sheridan
audio files on DVD
sound reports
DVD with QT video files for reference
Call Sheets
Production Reports
Emailed to Faculty & Technologists
Screening
Archival and Other Uses
- encoding for Vimeo
- DVDs/Blu-ray copies
- files for student reels
Mini-Docs
Development &
Pre-Production
Production
Post-Production
Delivery
Pre-shoots
Panasonic HVX200
Canon 5D MarkII
Sony HDW-F900
CF Cards
(H.264 codec)
HDCAM tapes
DVCProHD 720P/24PN
(actually 23.98fps)
1080p24
(actually 23.98fps)
23.98fps
OR
OR
Premiere
Location Recorder
Sound Devices 744T
- recording 4 tracks
(lav1,lav2,lav3,boom)
- records to HD and
CF cards
Location Mixer
Sound Devices 442
24 bit, 48kHz
4 tracks
Microphones
- TRAM wired lavs
- wireless lavaliers (x3)
- shotgun on boom
Audio
Audio could feed
directly into cameras
or could be recorded
using dual system -
depends on camera
and situation.
Use a slate!!!
Avid
FinalCut Pro
Syncing
If dual-system was used, there can be a LOT of syncing necessary!
Stay with native codec
Transcode to DNxHD
Transcode to ProRes422
Log footage
Rough Assemblies
Off-line edits
LOCKED PICTURE
Log footage
Rough Assemblies
Off-line edits
LOCKED PICTURE
Log footage
Rough Assemblies
Off-line edits
LOCKED PICTURE
Sound Post
Online Edit
Important that off-line editor
has organized audio tracks
properly.
Deliverables to sound post for
mini-docs is the same as for
the 3x3 films.
Depending on the doc, there
may be considerable VO
recording in studio.
FINAL MIX
Colour correction
Titles & Credits
Audio Layback
Technical Rehearsal
Hand-In of Media & Screening
1080p 23.976fps
DNxHD 175 or ProRes422
At EVERY step, assets are backed up.
This includes:
- media from cameras
- media from audio recorders
- transcoded files
- editing project files (after every session)
- post-audio project files
- final QT master
- final audio mix stereo file
Workflow will likely be similar to the 3x3 films but...
QT exports for
directing class
- same as source off Avid
- H.264 files created for off-site viewing
For printing call sheets
& reports
OR
Sony HVR-Z7U
23.98fps
OR
Sony HVR-S270
23.98fps
CF Cards
AND/OR
HDV tapes
CF Cards
AND/OR
HDV tapes
Red One MX
Avid MC Nitris DX
Blu-ray Disc
Screenings
(May 16 & 30)
QT File
- same as source
- bars, tone
- picture start at 01:00:00:00
Post-Production
Production (4 days)
Finishing
Pre-Production
DMT Station
Editor
Transcoding!
(ongoing - try to get this started as soon as possible!)
Previsualization
Budgeting,
Scheduling,
Callsheet,
etc.
Sound + Producing Computer
iPads
4K 2:1 23.98fps
audio guide track
external TC
audio setting 24bit 48kHz
Build 30
Location Mixer
Sound Devices 442
XLR cable provides audio (line level)
guide track (mono mix - 1 channel)
jam timecode (LEMO)
Ambient ALC204
master TC (time of day)
& video syc
jam timecode
jam timecode
24 bit, 48kHz
4 tracks
Red mags walked over to DMT station
Editor's Copy
(drive provided by
producer - FW800,
>1TB, 7200rpm)
Producer's Copy
H.264 encode for iPad
Backup Copy #2
Backup Copy #1
Avid DNxHD 175X (10bit)
23.98fps
Camera
Reports
Sound
Reports
Continuity Reports
Daily ProductionReports
iPads
for reference &
access to reports
ProTools
Picture Edit (approx. 1 month)
Post Audio
(approx. 28 days)
Ingest and log
Sync audio
Assembly
Editor's 1st Cut
Director's Cut
Producer's Cut
Iteration at each stage
plus faculty review
Deliverables for Post-Audio
AAF 24bit 48kHz 23.976 (NOT AIFF!!!!)
1 x CMX3600 Video&Audio EDL (for VK Post Conforming)
QT reference - same as source - with timecode burn-in
bars, tone, countdown, start at 00:59:00:00, slug with info, 2-beep at 00:59:58:00, picture start at 01:00:00:00
files moved across via MX server
Backups of Avid project after each edit session
possible vk-post-conform
Dialogue Edit
Effects (collect and spot)
Music (from library or composer)
Foley
ADR
Pre-mix
Final Mix
Iteration at each stage
plus faculty review
Backups of ProTools project after each session
Audio Layback
Final picture and final
audio are brought together.
video sync (BNC)
offload cards
backups (1 copy to DVD of raw media)
import to WaveAgent for meta-data tagging
files from WaveAgent burned to master DVD (x3 copies - 1 for producer, 1 for audio, 1 for editor)
generate PDF plus print Sound Report
audio files placed on MX
for editor to grab
(stereo file interleaved)
Locked Picture
- one copy retained here
Location Recorder
Sound Devices 744T
- recording 4 tracks
(lav1,lav2,lav3,boom)
- records to HD and
CF cards
Location Audio Cart
Micron wireless
receivers
Microphones
- wireless lavaliers (x3)
- shotgun on boom
CF cards walked over to DMT station
Delivery to Sheridan
audio files on DVD
sound reports
Call Sheets
Production Reports
Emailed to Faculty & Technologists
Screening
Archival and Other Uses
- encoding for Vimeo
- DVDs/Blu-ray copies
- files for student reels
- HDCAM tape
QT exports for online review?
- same as source off Avid
- H.264 files created for off-site viewing
For printing call sheets
& reports
Audio Archival
QT movie with reference audio mix for approval
stem outputs (music, dialogue, foley)
final mix
Reshoots
require faculty approval
Reshoots
require faculty approval
Safety Meeting
James & Randall
1st AD, producer, DOP
Colour Correction
could be at post-house (Deluxe, etc) or could be done at Sheridan
begins with a 'conform' whereby final edit is relinked with original source clips
some possibility for reframing & other minor fixes... depending
VFX
generally, these should be started while picture is being edited
FX shots will be slugged and refined versions of VFX shots will be dropped in as available
once locked picture is finished, post-audio and VFX should be worked on simultaneously
this may include work you don't think of as VFX including stabilization, removal of booms & cables, etc.
completed VFS shots
original Red files
EDL, quicktime reference, etc.
Titles & Credits
should be worked on during picture and sound edit
completed title & credit sequences
Major Decision!
are you shooting with the Red?
if not, lots of work to do...
Major Differences
4X as much material
this means you need 4X as much storage, 4X as much time for transcoding, etc.
Major Differences
scrutiny will be more intense
the review process will take much longer
28 MB/sec
(in order to save time)
Call Sheets
very important that call sheets get sent to everyone!
Marketing
you will need to create a plan for your project
this may include festival submission, and for this you will require an EPK
there will also be other online assets that need to be created (website, Facebook, etc.)
Remember
to shoot some proper production stills - you will need these for your EPK
Surround Sound?
maybe?
Full transcript