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Re: Best workflow for complete production of action short film?

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Angelo Lorenzo
Re: Best workflow for complete production of action short film?
on Jul 20, 2012 at 10:23:06 pm

Not having timecode makes things a pain in the behind.

*** Option 1 ***
Take all of your footage and drop it into a timeline and drop all of your audio in. Sync with Plural Eyes first and import the resulting XML into a clean project. Link/group these audio and video together. You can also merge clips, but these have some workflow limitations

Linking/grouping clips = editing from one timeline into another.
Merging clips = editing from source monitor.

***Option 2 ***
If the camera audio is usable then edit. Sync your master timeline with Plural Eyes. This will create gaps as it decides what audio to use and what audio to put to the side. You'll need to clean the edit from there.

Timecode syncing makes everything easier, with that said, I strongly prefer option #1

Edit to your heart's content. I suggest having smaller timelines per scene, why? You can move them around in chunks and if you need to re-edit after you've completed finishing (color/sound editing) then you only have to pick apart and redo smaller portions of the film while leaving other areas safe and undisturbed.

Once an edit is locked, send the audio to Audition for mixing. Audition can also take a rendered version of your edit as it has a video viewport, so bring in an MOV from Premiere. Edit all audio in Audition... seriously. Editing audio in your NLE is cumbersome and it's easier to send everything over for more complicated projects than to send over just problem clips. Granted you may need to do some level of fine tuning in your NLE if you plan on screening work for a client/producer/test audience.

At the same time you could be working on effects and color grading in After Effects. Once you have effects like gun flashes, you can bring a new version of the video into Audition to sync any sound effects.

Once sound and effects are locked, you can render out audio and bring it into a master timeline in After Effects and just lay down the audio track. Take the master timeline and drag it onto Adobe Media Encoder and work out all your delivery formats.

So that's kind of best case scenario, no round trips with rendering so you're using native media start-to-finish.

Get use to marking timelines with a version number so you can always revert a scene back if you liked a previous edit.

Don't be afraid to re-edit in Premiere if you need to... yeah it sucks because those portions have to go through finishing again, but it happens. You'll get use to it as you deal with clients or get more experienced as you work in post. In larger movies, portions of the edit are locked and/or shots are given to VFX companies with extra handles (time on either end) to allow VFX work concurrently with principal editing.

Large films will also start VFX work during principal photography since decisions have been made about background design, possible gags, and so on.

Angelo Lorenzo
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