Assistant Editing Workflow Offload Media At the end of each shooting day, the AE will pick up the RED Mags, CF cards, and the script supervisor binder (containing script supervisor paperwork, camera reports, and sound reports) and bring them back to the school for ingest. Insert the cards into the corresponding readers. They will mount like an external hard drive and appear on the desktop.

CF card containing sound

RED Mini Mag containing video

In the dock, click the Hedge application.

Hedge Application

Hedge default view

Once Hedge opens, drag the CF card icon to the “SOURCES” column. Then, open the “Promise Pegasus” hard drive and navigate to the folder for the show you are assistant editing (ex: 01f19) and then drag the “Sound” folder to the “DESTINATIONS” column.

Hard drive folder mounted in the destinations column

Likewise, open the Journalism Server and navigate to the FILM 382 folder. Then, open the folder for the show you are assistant editing, find the “Sound” folder, and drag it to the “DESTINATIONS” column.

Server folder mounted in the destinations column

Now you’re ready to transfer the sound. Click the “Add Two Transfers” button at the bottom of the Hedge window.

Hedge window when the transfers are complete (and nothing went wrong).

If your Hedge transfer doesn’t turn green, something didn’t transfer correctly. Try again and if it still doesn’t work, contact Sara via Slack. Triple check that the media has been offloaded correctly and to the correct locations. You don’t want the show to lose their footage because something went wrong during the offload. The CF cards will need to be erased after your have confirmed their transfer to the hard drive and the server. Remember to empty the trash after deleting the sound card as that is the only way to free up space on the card. You do not need to erase the RED Mini Mags as they will be reformatted the next time they are put in the camera. If you still have more days of production to go, you will return the cards to the Producer before set the next day. If it’s the final day of production, please place all the media cards in the ingest box (white box on the desk) in the appropriate space. Import Media Into Premiere Navigate to the following folder to open the Premiere Project:

Promise Pegasus > 01f19 > Project

The bin structure is already set up for you and must be maintained.

Import the R3D files (not the folders) into the appropriate bin.

03_Footage > Production > Day

Import the WAV files into the appropriate bin.

02_Audio > Production > Day

Synchronize Clips Use the “merge clips” command in Premiere to sync the audio and video together. Check that the keyboard shortcut for the “merge clips” command is command+m.

Select Keyboard Shortcuts from the drop down

Type “merge” in the spyglass window to find the “merge clip” command

Double click the first video clip to open it in the Source Monitor. Make note of the setup and take numbers that are on the slate. Set an in-point on the first frame when chevrons touch.

Open each of the corresponding audio files in the Source Monitor and set an in-point on the first frame that you can hear the clapper.

Command-select all the corresponding video and audio clips. With all your assets for the take highlighted, hit “command+m” to use your shortcut for “merge clips.” A window will appear asking how to merge them:

• Name the merged clip after the setup and take number (ex: 2A_01) • Set the Synchronize point as “In Points” • Check “Remove Audio from AV Clip” • Click “OK”

To check the sync on a clip you merged manually, you will need to place it into a sequence and extend the head of the clip to get some pre-roll to the clapping sound. Once you have checked it for sync, delete the clip from the sequence. If the sync is incorrect, send Sara a message in Slack. If you come across a clip that was labelled “MOS” on the slate, it means there are no corresponding audio files to sync. Instead, you should rick-click on the clip to duplicate it. Then, rename the duplicate version whatever it was slated, with a suffix of “_MOS” (ex: 2A_01_MOS). Then, move the duplicate version out of the production footage bin so that it is grouped with all the merged clips. Organize Media in Premiere After everything has been synchronized successfully, move the merged clips into the appropriate scene bins.

Build the Dailies Sequence For each day of production, you will build a dailies sequence that includes all of the footage shot for that day as well as a master dailies sequence that includes all the footage shot for the entire show. (If you are AE for one day show, there will be only one Dailies sequence). Organize the merged clips in scene order (story order) and, within each scene, place the shots in the following order:

1. Wide shots 2. Medium shots 3. Close-ups 4. Inserts/Extreme Close-ups 5. Charts

Since sound starts rolling before picture on set, you’ll notice that there’s excess audio media at the head (and sometimes also the tail) of each shot. You’ll want the head and tail of each audio clip to line up with the head and tail of the video. To Tri the audio, hold down Option and drag the head or tail of the audio track. The trimmed sequence should look like this:

Make a five second slate to begin the dailies sequence and fill it out as follows:

Exporting the Dailies Sequence In Premiere, double check that you have an appropriate front-sequence for the work you’re about to upload (ex: slate, countdown, etc.). Also make sure that the sequence is named correctly and that the in and out points are set. Once the dailies sequence Is fully built, export the sequence:

1. Make sure the timeline panel is active and choose File > Export > Media. 2. In the export settings box, choose Format: H.264 and Preset: Match Source – High

Bitrate

3. Click the blue filename. In the Save As dialog box, choose the Exports folder in the appropriate film’s folder. Make sure it’s named “show number Dailies” (ex: 01f19 Dailies). Then click Save.

4. Make sure your Source Range is set to “Sequence In/Out” 5. Export! 6. Upload the export to the Dailies folder on the server.

For shows with multi-day shoots, it is the AE’s responsibility to have the previous day’s footage ready to review at lunch with the director on location. After the final day of production, the offloaded sound and camera cards should be left in the appropriate white bin on the desk in the ingest room. Review the Dailies Sequence Prior to screening dailies with the director, watch the exported QuickTime file to check for errors and to fill out the relevant fields of the AE Paperwork. Each form has spaces for the Date Shot, Take Number, Scene Number, which you can enter in the order that the shots are arranged in the dailies sequence. You can also note if the shot was sync or MOS and if it was a series take. Using the script supervisor paperwork, you can also mark if it was the “best take,” a “good take” or “no good.” Within the text box for each shot you should also include any obvious technical flaws (boom in frame, for example). Leave enough space for the editor to capture the director’s notes during their dailies screening.