Following my research and preparations from the dailies process, I felt that my bins, files, and overall organisational system were well structured and prepared for post-production. But I feel that it's also important to know the professional workflow of the post-production editing process that Editors typically follow and use to start their work. So before beginning this stage, I conducted research into the workflow steps to take, the types of stages / completed cuts that can be created as guidelines, and how the editing process typically works around working with others, such as the Director and Colourist.
Editing Steps Research
First of all, I found a very useful resource on 12 steps of a video editing workflow, that is specific to using the editing software that I'm using; Adobe Premiere Pro. The 12 steps and my thoughts and work effected by these are:
"1) Plan the project.
Planning your project is the crucial first step of an Adobe video editing workflow. That means using consistent file naming schemes, creating a single folder to store all your files and project elements, and even thinking generally about who your audience is and matching your editing styles to the needs of the project.
2) Gather media.
Get everything together, organized and easily accessible: captured media, graphics, audio, video and anything else you’ll need.
3) Label everything.
Label all media with keywords, bins and favorites to group everything into easily accessible categories." [1]
- I feel confident in my initial set-up that I started within the dailies process, as this matches very well with the importance of proper and consistent file naming and folder structures that are discussed in these first three steps.
"4) Start building your story.
Without worrying about being precise, start viewing clips and deciding which should go into the timeline. It doesn’t have to be anywhere near perfect. You just need to create a general framework." [1]
- I think that although this relates very well for the initial beginning of post-production editing, I was able to get useful practice of this process when creating dailies in a timely manner.
"5) Organize.
Now that you have the clips in the timeline, start watching the sequence to fine-tune the order." [1]
- I think personally to my workflow, this step is where my post-production process properly begins from my editing in the production phase, as by watching the timeline and fine-tuning the order and clips, the film will start to come together.
"6) Trim.
Once the clips are better organized, you’ll have a much better idea of what you can trim. It’s often a good idea to first trim to improve the story, and then worry about trimming for time." [1]
- This is not only a great insight into the ways that professional editors undergo trimming their work, but relative to the ways that I have always approached editing my work - by first trimming down for quality, and then later on to cut down the time.
"7) Add transitions.
This is the time to start polishing your production with cuts, dissolves and wipes. Don’t get overwhelmed. Focus on what needs to be done first, then start adding transitions to make the edits smoother." [1]
- I think that incorporating these after improving the quality of the edit will make the film come together even more and flow a lot better, however I agree that it's important to be left until later in post-production as to not get in the way of the basic fine-tuning of the edit.
"8 ) Add text & effects.
Once your story is complete, this is a good time to polish even further with necessary text and graphics." [1]
- This is one of few steps that I feel won't entirely relate to my own workflow, as sound editing will be approached before incorporating polished text and graphics. Mostly due to the importance of fine tuning our sound sooner rather than later in the process, and also due to the fact that text and graphics won't be completed until the end of post-production.
"9) Mix your audio.
Sometimes called “audio sweetening,” this is the step in which you can begin adding music, effects or other audio to create atmosphere." [1]
- Similar to the above, my workflow will differ slightly, in that music will be added slightly earlier, in order to have the composer improve upon the composition over time, and so that the film and music can be cut together to really connect the two effectively.
"10) Color-correct.
Whether you color correct in your NLE or an external application, save this step until everything else is complete." [1]
- Although I won't be colour correcting the film myself, I will be ensuring that the timeline's order, timings, clips and overall look of the film is almost finalised in order for the colourist to work on the clips that will definitely be used in the film, instead of wasting time on a half-finished cut that may either have clips removed or added later in post-production.
"11) Output.
Now is the time to output the project into the appropriate video file." [1]
- Although I may need some extra guidance from our DOP and technical adviser, I feel confident that I will deliver the film in the correct format.
"12) Archive.
Save your work – trash any clips or elements that you are 100% sure you will never need. But otherwise, archive everything so you have what you need to make any necessary edits later on." [1]
- I will definitely hold onto all my work from start to finish, I think that is very important for later use.
Overall these steps were useful in learning about the professional editing workflow that can be used in post-production, alongside learning about the similarities and differences that my own workflow will have in comparison.
Another source of information that I found was a nine-step workflow article, that looks at more specific, supportive areas to focus on during the editing process:
"1. Create a project “Edit Log” This document should be used on a daily basis to track changes to workflow, sequences and organizing structure.
The edit log is a record of what was done, where things are saved and how workflow tasks were handled. Included in an edit log are:
- Identifying problems
- Steps to be taken to fix problems
- Task identification" [2]
- This was something that I hadn't considered doing when editing Double Exposure, as I have never created an Edit Log before. However, when reading about how helpful and supportive it can be, I decided from this that I will use an edit log in post-production. Allowing me to keep track of my work day by day and identify changes and issues.
"2. Create a project “Master Document” Separate from the “Edit Log”, the “Master Document” contains governing notes that will be used to make future workflow decisions. A new editor, assistant editor or anyone acquiring footage can use this document as a guide on file formats, saving and naming procedures and more. If this is a smaller one-visit project, you may consider skipping this step." [2]
- As technical specifications and important notes to refer to will be incorporated into the edit log, and as this is a one-time project, I decided that I do not require a master document in post-production. But it is interesting to learn about an important part of logging when editing large, or revisited projects.
"3. Determine if transcriptions are needed. This is based on the amount of interview footage that exists." [2]
- As this step only refers to the documentary parts of the article, it is unrelated to my work.
"4. Determine project folder structure, naming conventions, saving and backup plans. Use predetermined folder and bin names to organized files on the hard drive and within the edit program’s browser.
- Naming conventions should be consistent and designed for keyword searching in finder or an edit browser.
- Autosave project files should be designated to a hard drive other than the project’s hard drive.
- Project / footage drives should be raid redundant or backed up after each edit session." [2]
- I feel confident that since the production phase I've already followed organisational guidelines, but this step was a useful reminder of how important it is to back-up your work after every session. I plan to back-up my work onto the computer every day, giving me back-ups both on my own hard drive and a second hard drive.
"5. List source footage format details. This is some of the information noted in the master document." [2]
- Again, this is less relative to my own work, but will be considered when file formats are important to be noted.
"6. Identify editing & delivery formats. Convert to one file type for editing early in the process. I use ProRes 422 or ProRes HQ. Delivery formats are different and usually smaller than edit formats. These will be dictated by the delivery platforms you’ll be using. I like H.264 for almost every type of delivery. This works well for YouTube and Vimeo." [2]
- This step highlights the extremely high importance of where to begin with the sequence format of my project. As I was using H.264 for dailies in order to import, edit, render, and export in timely and convenient ways. However, for post-production editing this would differ, and the project would need to be in a much higher quality format. Before starting my project, I planned to work with our technical adviser to ensure that I used the correct format (to be discussed in another post).
"8. Create a plan for file transcoding and naming. These days we’re often working with different recording formats, frame rates and even aspect ratios. Identifying these differences early, testing if necessary and locking in editing specs will ensure the best quality playback performance possible." [2]
- I feel that I ensured this step's success by undergoing BlackMagic footage tests in pre-production (as explored in a previous post), allowing me to learn about the type of aspect ratio, file sizes, and frame rates that the footage would be delivered at and figure out the best ways to work with them.
"9. Import, organize & log your media. The edit software will be the interface for all your edit work. Being able to account for all your video clips, photos, graphics and sound files can be a challenge if you’re not organized." [2]
- Already off to a great start with this, I will continue to make sure that all of my media is consistently organised and well located in my project for a smooth workflow.
This article was very helpful in looking into specific considerations to make, and was great for giving me ideas of workflow steps that I want to include in my own project, such as using an edit log to support my work.
Editing Stages Research
One of the most important parts of editing a film is going through the typical stages of editing, by working towards particular completed cut types, and presenting them at each stage of post-production. These can include rough cuts, fine cuts, and final cuts, but many different sources have different outlooks on exactly how many stages there should be, the requirements of each stage, and even what they're named. By conducting research into different stages, I was able to decide on which ones I wanted to follow inline with my own workflow, post-production time and deadlines.
The first article on professional editing stages explores six individual stages from start to finish:
"1. Logging
The dailies or rushes are sorted and labelled in ‘bins’. Each take can contain extra notes from the director or the cinematographer. This is the first time the editor sees the film, and since it is shot out of sequence, it is out of context of the story. A good editor views the rushes and looks for fluidity of movement and nuances that will later be incorporated into the film." [3]
- This stage already relates to my own work in the production phase of the film, however it seems to view the dailies as being created by a different person, and that they are then handed to the editor. This differs to my own work as my first step was creating the dailies myself. But this stage indicates how effective dailies can be in recognising how each shot and clip can be effectively cut together later.
"2. First Assembly
The editor considers all the visual and audio material collected on the shoot for each scene and then re-orders it in the way to tell the story best.
Hint: First assembly is like a sketch of the finished scene.
It is a good idea to save these sketches for reference later,
should the editor get stuck." [3]
- This stage is well explained as the initial set-up of the edit, by beginning to tell the story through simple organised clips and audio. The extra hint is helpful in relating to the fact that I will save multiple versions of my work after each major change, in case I need to return to that version of the project later.
"3. Rough Cut and Variations
The rough cut can take up to three months to complete. Each editor works differently. Sometimes the editor works alone and shows the day or weeks work to the director and producer, Sometimes the editor and director work together, discussing every nuance.
In the rough cut, the scenes are placed in order and checked for continuity. This all-important step in the editing process allows for revisions and new ideas to be tried and tested." [3]
- The above stage's time frame differs greatly to my own, as I would only have a matter of weeks to edit a rough cut to meet an overall 10 week deadline. I can gather from the rough cut stage that depending on choice and project type, this stage can either be continued alone by the editor, or allows for beginning to work alongside the Director. Due to a short turn around time, the rough cut would most likely be taken on by both myself and the director to better improve the storytelling and quality of the film in a short time.
"4. First Cut
The first cut is the rough cut that is accepted by the editor, the director and the producer. Selection and sequence are basically fixed, although changes can still be made. The later film is visible. Detailed fine cut starts out from its proportions, structures, rhythms and emphasises them." [3]
- This feels like an inbetween-type of stage for projects that have a longer time frame to complete. From reading this I felt that it was unlikely that a first cut would be incorporated into my own stages of editing.
"5. Fine Cut
The fine cut no longer focuses on the entire film, but on the details of each and every cut. The fine cut emphasises and strengthens the rhythms and structures identified in the first cut." [3]
- Focusing on each individual component of the scenes, clips, sound and overall quality of the film, I think that this stage would be close to the end of the project, as the film would be almost at the finishing stages.
"6. Final Cut
When a fine cut has been agreed with the editor, director and producer, the sound designer, music composer and title designer join the editor. Sound effects and music are created and added to the final cut. When everyone has agreed with the final cut, the Edit Decision List is sent to the lab where a negative cutter ‘conforms’ the negative to the EDL in order to create a negative that is an exact copy of the final cut." [3]
- This would differ slightly with Double Exposure, as audio, music and GFX would need to be incorporated into the fine cut stage in order to get feedback in time for changes before submission. However this is a good indication on the fact that once everyone on the crew agrees that the film is a finished product, it can be exported and handed over to the appropriate person.
From reading these stages, they felt like a slightly longer version of the editing process, where the editor has more time to complete each stage.
This prompted me to find a versions of the cuts that focus on larger completions per stage, as opposed to smaller cuts with less changes. So I found a helpful resource for slightly different types of editing stages:
1. "Assembly edit
This is the first stage of the editing process. The footage from your shoot is organized into scenes (usually be an assistant editor). Then, all scenes are assembled roughly, with the editor's choice on takes. No music or effects are included." [4]
- This first post-production stage can be identified as 'first assembly' in the above article, acknowledging that the video and audio are organised in a simplistic way to tell the story - chosen by the editor alone. In discussion with my tutor and crew, it was decided that in the first stage of editing that I would work alone, so the above example relates to my own process very well.
2. "Rough cut
The editor replaces takes as needed, based on the director's notes. The assembled film is reviewed and scenes/dialogue removed in order to get the film to an appropriate length, based on what works and doesn't work. Pickups are added, as well as music and story-critical sound effects." [4]
- Similar to the first example of a rough cut, this states that the film is more fine-tuned and cut down in collaboration with the director. However this example of a rough cut incorporates adding pick-up shots, music and sound effects, which I feel works a lot better with my time constraints. Therefore bringing the film and story together in earlier stages of post-production in our project.
3. "Fine cut
Another round of director's notes are addressed. If you need visual effects, you begin farming out effects and adding in rough versions of effects shots as they come in. Finalize music (make sure you're working with music that has been cleared or is possible to clear). You might screen for friends to get feedback. Overall, you eliminate any other extraneous scenes or lines of dialogue and fix anything else that isn't working." [4]
- I feel that this is a very unique perspective on a fine cut, but very detailed in how certain tasks will get the film to that fine cut stage. I plan to complete the fine cut after colour grading, followed by adding in GFX and making sure that the music is finalised, along with a group screening on our course, and last changes before the final cut/picture lock. So this example of a fine cut entirely relates to my own plans.
4. "Pic lock
We work to get the film as tight as possible, going over it with a fine-tooth comb. All effects are finalized and incorporated into the cut. Additional sound work is done, as necessary. Director and editor will be working closely together to make sure all notes are addressed and the director is happy with the film." [4]
- I feel that just before submission and after some final feedback, this would be a very suitable stage for our project, making sure that everything is exactly as we need it before rendering and exporting.
With all of the above in mind, I feel that the second article on editing stages is the most effective and suitable for Double Exposure's post-production stages. Therefore, below is the plan for:
My Editing Stages
- First Assembly: Creating a linear timeline of all scenes to get a feel for how the story flows, cut types, pacing, and film length. Followed by adding and syncing the external sound. Along with deciding on the major changes that need to be made, and deciding with the crew on any additional video and audio that needs to be recorded. This deadline is set with the Producer as 2 weeks into post-production.
- Rough Cut: Adding all pick-up shots and audio, incorporating sound design such as sound effects, fine-tuning each scene with tighter cuts, working with the Director to improve the quality of the film and to cut it down to the required length, adding the first draft of music, sound editing to fine-tune the quality of all sound, and having the film ready to be colour graded. This deadline is set with the Producer as 5 weeks into post-production (giving me 3 weeks to complete the rough cut, with 2 weeks for our DOP to colour grade and for the Director and I to continue sound editing if needed).
- Fine Cut: Receiving the project with completed colour grading, final changes to sound editing, final music added to the film, GFX, opening titles and closing credits added to the film, and fine-tuning the scenes. This deadline is set with the Producer as 9 weeks into post-production (giving me 2 weeks to complete the fine cut).
- Final Cut: All final feedback changes are completed, the last fine-tuned areas are completed, our tutor and entire crew are happy with the film, and the film is rendered and exported. This deadline is set with the Producer as 10 weeks into post-production; i.e. the day of submission (giving me 1 week to complete the final cut).
In agreement with the Producer, Director and DOP/colourist, I think that these four stages across 10 weeks allow me to complete highly improved versions of the film on each delivery, and meet with our time frames very well. But although these four stages are personalised to my own project, I feel that they draw from my research of professional editing stages and workflows, giving the editing process of this film a very professional standard of work and collaboration.
By conducting this research in multiple workflow steps and editing stages, I was able to feel well-prepared for beginning the first assembly and all other cuts of Double Exposure with confidence and effective preparation.
References
