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The ever-brilliant Splice Here blog (soon to be Splice Now) by Steve Cohen lays out the perfect list of questions that every production should answer before they shoot one frame.  If you or someone on your production team can’t answer this question before you start shooting, STOP! and get it answered.  Not knowing the answer can get you in to trouble.  Original link: File-Based Basics « Splice Here.

  1. Production
    Which camera(s) are you using? Which audio recorder?
    What kinds of files are you creating?
    What frame rate, sample rate, timecode rate, raster size are you recording?
  2. Dailies
    Who’s doing them? What do you need for editing, review and conforming?
    Who syncs and how will they do it? Who backs up and when?
    How are drives being moved around; where are they stored?
  3. Editing
    What system will you use? What kind of drives/raid?
    How will you output cut material for review?
    What are you turning over to sound and music?
  4. Conforming
    Will you roll your own or have a post house do it?
    How do you handle visual effects created in your editing room?
    And those created by the vfx team?
    What kinds of files will you use for color correction?
    And for television, a crucial question — when do you convert to HD?

 

Thanks Steve!

Hey everyone.  First of all, a quick thanks to Bruce Sharpe, CEO of Singular Software.  His company made PluralEyes, the company I referenced in my previous Dear Production entry.  A few days ago posted my blog on his twitter feed.  That’s big for someone like me who is brand new to this web 2.0 linked economy.  He also recommended a good story about I Love Lucy and how the show really innovated multi-camera production.  You can find Bruce on twitter and on blogspot, and probably at NAB this week.  From his twitter feed:From Bruce Sharpe's Twitter Feed

Here’s the video I recommended about his company:
(I’m just learning how to embed video on WordPress)
[blip.tv ?posts_id=1129108&dest=-1]

Also thanks to Lindsey Rundell, my assistant editor amigo, currently working on .  She read my post and told me about Quickeys, a macros program which should make half of Avid Multi-Grouping easier.  The program allows you to program a series of keystrokes into one keystroke so that, in her words, “It does the F1-6 deal for you AND adds the Aux TC.”  It looks like it would be a great help, but nothing is a replacement for proper production techniques.  Thanks Lindsey!

Okay, I’m not one here to criticize people in production. Post-production is almost a completely different beast from production and I’ve walked very little in the shoes of the camera department (enough to know I didn’t want to do it for a living). That said, DEAR PRODUCTION: JAM SYNC YOUR DAMN CAMERAS!!!

For those unaware, jam syncing is a process used by productions when sound is recorded separately or when multiple cameras are shooting the same event. It’s used in features, television, music videos, documentary, and especially reality television.  Simply put, the production team uses a machine to send continuous matching timecode to each camera.  Once the footage lands in my hands, that allows me to simply hit “Sync By Timecode”, create synced groups with every angle’s action lined up, and start editing immediately.  All production has to do is occasionally set their timecodes to match that machine.  Working with it is great…IF it happens.

What production doesn’t understand is that if at any point the timecode drifts out-of-sync – at any point – then the amount of time I have to spend syncing clips increases exponentially compared to the amount of time they delay stopping to sync their cameras. And every camera has a tendency to drift out of sync. All too often, they decline to be diligent.  On one project, this showed up during a live-to-tape session where six cameras and an audio recorder were recording the same group meeting.  NONE of these cameras were synced.  Despite the fact that each camera was stationary and the location did not move, there was not even a slate to provide me with a point of sync.  Each clip had to be synced according to some random point in the action.  And that took over two days with a second-shift assistant editor working on it as well.  If they had simply jam synced, this would have taken us minutes, not days.  And I should say that while this was a bad experience, I’d be a rich man if I only had a dollar for every time I had to deal with timecode sync issues.

Here I’ll post what some of you may be looking for: Tim Leavitt over at View From The Cutting Room Floor has a great blog post about fool-proof Avid MultiGroups.  That describes the process you have to go through if you’re editing in Avid and you have the problems I describe here.  If you’re working in Final Cut Pro, here’s a great post from our dear friends at the Los Angeles Final Cut Pro User Group (who are totally awesome, let me just say) about syncing multicam clips.  As an added bonus, you should check out this little plug-in gem called PluralEyes.  It’s a Final Cut Pro plug-in that scans your audio waveforms and aligns your all your clips in your sequence so that you never have to sync again! It’s only in beta phase now, and I’ve downloaded it but haven’t had the chance to use it yet.  I’m looking forward to the opportunity.  This video also has a great explanation of what I’m talking about as far as jam syncing.  Email me if you need any additional help.  I’ll see what I can do.

Just to make a final point and show I’m not really just sore about my experiences but that this is really a good idea.  Imagine that this happens on a Michael Bay movie. There’s some action sequence that has ten cameras covering some big explosion. Imagine getting all that footage and not having timecode to sync the entire action.  It would be hell to edit, right?  Well, my dear friends in production, please remember: jam sync your damn cameras.

-Rob