Editing And Post-processing Techniques
Editing And Post-processing Techniques – If you’re new to the intricacies of post-production workflows, or just need a refresher, you’ve come to the right place.
To help you with your search, we’ve put together a collection of helpful video post-production workflow templates. After all, post-production transforms beautiful footage into a single story that looks great, sounds great, and touches a variety of emotional chords. It is important to understand correctly.
Editing And Post-processing Techniques
A step-by-step guide through the key steps of a good post-production workflow, including helpful tools and workflow tips. ?
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The post-production process, also known as the post-production workflow, consists of a series of steps that begin after principal photography has concluded and continue until the finished video is released to the public.
To start working on a post-production project, you need files to work with. That means the production team needs to find a way to get them to you.
Video files can also be stored and delivered to your hard drive via courier, but it is now much more common to receive them via web-based managed file transfer services such as MASV .
A typical workflow involves sending raw, unedited footage, called “dailies” or “rushes,” to the post-production team every day. This is typically done by either a digital imaging technician (DIT), data wrangler, or post-production assistant.
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Once the footage arrives at the post-production house, it’s important to keep it organized from a file management perspective. This is an often overlooked step, but it can potentially save your team hundreds of hours.
To get a head start, ask your on-site camera operator to attach a shooting log to the footage they receive. Shot logs can include helpful information attached to each file, such as:
If your director or director of photography (DP) has a particular shot you like, ask them to include it in the shot log. Don’t forget the sound report and circled takes from the director.
ISO 8601 international standard: You can use sensible file naming conventions such as YYYY-MM-DD to make your video and audio files more searchable.
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The project folder naming convention also helps video editors find clips faster by organizing all files by scene, sequence, or shot.
Make sure all collaborators understand how consistency will benefit them in the future. To keep everyone consistent, it’s helpful for post supervisors and editors to create and distribute technical specification sheets.
Once you have everything organized, back everything up to storage. File storage can be located on personal drives, on-premises shared networks, cloud storage, or within a distributed storage network.
Media files are now in the era of 4K to 8K videos. In particular, teams receiving files from virtual production stages may have to deal with dauntingly large files. These large file sizes are difficult to move and can exceed storage limits.
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The MASV portal is a secure upload portal that allows you to move files to cloud storage. Simply connect to your preferred cloud storage and files uploaded to the portal will automatically appear on your connected storage unit.
External drives (along with dongles and cords) are notorious for causing video transfer speed bottlenecks. Make sure to choose a storage solution with good read/write speeds.
Scofield’s second law of computing states that if a file does not exist in three locations, then the file does not exist. This is a good rule of thumb for post-production teams. Always back up your files to at least two other locations.
Raw footage from the field is too large and cumbersome to work with efficiently. You must render the codec to the original footage and then transcode the footage. This converts the footage to a lower resolution file (transcoding).
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If the file is delivered via courier on your hard drive, there is no need to transcode it first. Transcoding makes transferring files on the cloud more manageable.
DITs and data wranglers often send video proxies via the cloud so editorial teams can get started right away. In the meantime, complete raw footage will be shipped.
There are hundreds of codecs available for compressing files. Some are even equipped with AI. The most common ones are:
In today’s cloud-based media workflows, it’s common to upload daily reports to review and approval tools like Frame.io for instant feedback.
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? Workflow Tip: Use MASV to receive contributors’ assets into their MAM from people without accounts (freelance editors, contract photographers, etc.).
Once the daily reports have been received, organized, and cataloged, the editorial assistant must save these files to the post-production team’s central storage. This is when the next (and perhaps most important) step in the video post-production workflow begins: video editing.
The editorial assistant’s next job is to import the appropriate files into the team’s offline editing software, Nonlinear Editing (NLE) software.
Offline editing allows editors to edit using lower resolution footage. When you use offline editing software, the original content remains unchanged until it is relinked to the edited file (more on this later).
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? Workflow Tip: An editor can configure her MASV portal to automatically download incoming files to a folder on her computer. Files may arrive overnight and be ready in the morning.
A rough cut is the next iteration of video production. Rough cuts allow for a more polished story or video progression to make sense, while trimming string outs to a more manageable length.
Video editors create rough cuts for each scene, work on each scene individually, and then reinsert them into the master cut.
The director and producer then review the rough cut and ask for feedback. Once the rough cut is approved by the editor, director, and producer, it becomes what is called the first cut.
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Unlike a rough cut or first cut, a fine cut focuses on the details of each frame or scene rather than focusing on the entire film. Fine cuts emphasize and strengthen the rhythm and structure identified in the first cut. In some cases, it may include rudimentary effects.
A fine cut also includes finished music or music that the composer is still working on, and the composer has access to edits at this point.
After further rounds of feedback and editing, the final cut, known as Picture Lock, is approved by the creative team and other stakeholders.
An image lock is a version that prevents you from making any further editorial changes. Sometimes it goes to the sound team and his VFX team, but in most workflows both the SFX and VFX teams start early in the process. In the latter case, the editor will wait for his VFX/SFX additions to be fine-tuned before finalizing, but all other departments will be informed that no further changes will be allowed.
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Post-production companies and their VFX artists can use collaboration tools to draw, write notes, and add timestamp-specific comments to footage while tagging other collaborators. is common.
The editing team must then adapt the locked version of the video into a format that can be used by the VFX, color, and audio teams.
Conforming is a way to ensure that files and associated metadata are error-free, but low-resolution shots used during offline editing must be relinked with the original high-resolution footage. This relinking is a process within the adaptation known as online editing.
Applying the editorial team’s edits to the original footage allows VFX, color correction, and audio teams to do their own work. To assist the VFX team, video editors identify the original camera file for each shot. The latter is another example of the importance of proper organization and naming conventions.
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Relinking files requires finding their exact originals among a large number of scenes and takes.
? Workflow Tip: Use MASV to transfer your original media folders. MASV preserves folder structures and file hierarchies for online editing.
Sending the image lock to the VFX team will give you a sharper, fine-tuned version, but the VFX team will also need to get a copy of the rough cut. This is because the rough cut includes his VFX placeholders mentioned above.
VFX teams often start working on a project long before the picture lock stage.
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See below for a complete breakdown of everything involved in his traditional VFX pipeline, from storyboards and reference images to modeling, rotoscoping, compositing, and lighting (just to name a few).
What is a VFX pipeline and what does it require? If you want to develop your own workflow, use this handy VFX guide.
Color work is typically done in parallel with the VFX team or after the VFX team has finished, depending on schedule and workflow. It is usually a better use of the colorist’s time to perform all color correction and grading in one shot, so it is rarely done before VFX work.
Often refers to correcting consistency issues caused by the shoot itself. For example, colors may appear washed out in one area, but vibrant in another.
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It refers to keeping the color palette of a work to a certain grade required by the director. For example, the strikingly dark color scheme of the Netflix show Ozark.
The process of color grading based on the director’s desired tone gives the colorist access to the director’s and her DP’s feedback to ensure visual continuity (and minimize revisions) is needed.
⚙️ Top color grading software: DaVinci Resolve, Colorlab.ai, Magic Bullet, Color Finale, Adobe Premiere Pro, Final Cut Pro
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