Post Production - Keeping Track


Alex Macleod TV-Bay Magazine
Read ezine online
Download PDF
Download PDF

One of the most important things to consider when beginning a new edit, is keeping track of where all your various media assets are - not only their location on whichever storage drive you chose to work from, but also where you file them away in your project once imported.

In the Avid world this is largely taken care of by the application itself, but when using programmes such as Premiere Pro or Davinci Resolve - the software takes no responsibility in that regard, and assumes that you as the editor know what you are doing.

Recently I have been working on an assignment which has been all about helping the editor save time - and I’ve discovered a fantastic (and free!) application called Post Haste. Post Haste works by allowing the user to create detailed folder structure templates which, once made can be recreated and repurposed with a single click.
The insanely useful thing about this, is it allows the users to work with a degree of consistency and purpose, leading to a lot less time spent having to a> create these folders each time a new project begins, and b> having to worry a great deal less about where items are if they end up going offline.

Another useful aspect of Post Haste, is it allows the user to add files into the folder structure, which will then be available once the new project is generated. Items such as pre-built project files, fonts, motion graphic templates, logos, luts and more can all be added into their relevant folders. Once that new project is generated they will also be present both in that folder structure, and in the pre-built project.

This technique of having pre-existing elements available consistently at the very beginning of every edit is common in broadcast & post production houses. Put simply, it’s the only way a post production coordinator can ensure that all of the editors in-house are using the correct assets, and working on sequences with the correct tracks, audio routing, resolutions and codecs etc.

However when working as a freelancer, shooting & creating your own material, it’s not always the case that this level of organisation is observed. From personal experience I can say that I’ve worked for a number of organisations where housekeeping isn’t top priority - costing time. And time of course as the old saying goes, is money.

So let’s say you decide to incorporate a partner application such as Post Haste (others are available) into your workflow - this then raises the question what would be the ideal folder structure? This question can be answered differently depending on who you are, and what kind of work that you do. But there will be folders that you will always need regardless of what type of edits you work on.

If you take a look at the structure I’ve settled on, you’ll see quite an exhaustive list of folders which I consider useful.

It’s quite comprehensive - to say the least. There’s a good chance that I may not use all of those folders on every project - but having them there costs me nothing and encourages me to keep things on track.

Whilst we’re on the subject of keeping things on track and using partner applications to help do that - I’d like to give an honourable mention to a piece of software I’ve used for quite some time, namely ShotPut Pro. ShotPut is designed purely to ingest media cards in a safe and efficient manner.

One of the biggest headaches for anyone tasked with offloading media cards, is having the confidence to format them. There is always that nagging doubt in the back of your head ‘have i definitely copied all these clips!?!’

The fear of deleting media that hasn’t been backed up - is real. Really real! Shotput is designed to help put that fear to bed. It also allows you to nominate more than one location as the offload destination - it will run a checksum verification to ensure that the copy is 100% complete and that all of the media has been transferred to all requested destinations. It takes more time, but once done you can be completely confident when handing the cards back to the camera operator, or doing the format yourself.

When thinking about what else can go into your template folder structure I’d suggest thinking about what assets you always use every time. One suggestion I would make is why not fill up your LUTS folder with cube files you’ve found useful? Why not add any logos you use on a regular basis into your GRAPHICS folder? If there’s sound effects which you know you use often (such as whooshes) put those into your SOUND FX folder.

Doing this is a great opportunity to create the ultimate master folder which can be-repurposed to infinity.

So - you have your perfect folder structure created. Time to make yourself the perfect project file for each time you begin an edit. If you take a look at the project window screengrab you’ll see that I’ve created a project that has essentially recreated the folders in Post Haste, allowing me to keep this high level of housekeeping going.

Things to note about this project, is that it contains pre-built sequences which will save me time when I begin to cut. Not only will these sequences allow me repurpose any given edit to a different delivery platform, but they also feature some basic audio track level submixes with track effects such as a compression effect, and a loudness radar.

Hopefully looking at this you can begin to see how useful Post Haste is. All I want to know is, where has it been all my life!!!

Tags: iss139 | premiere pro | editing | shotputpro | post haste | Alex Macleod
Contributing Author Alex Macleod

Read this article in the tv-bay digital magazine
Download PDF
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Matrox Mojito at NAB 2014

    Matrox Mojito at NAB 2014

  • Sonnet Technologies demo a mobile workstation for editing in the field at IBC 2018

    Sonnet Technologies demo a mobile workstation for editing in the field at IBC 2018

  • FORSCENE Cloud Editing at NAB 2015

    FORSCENE Cloud Editing at NAB 2015

  • Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

    Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

  • Forscene at IBC 2014

    Forscene at IBC 2014

  • Quantel LiveTouch at IBC 2014

    Quantel LiveTouch at IBC 2014

  • Quantel deal with AFP at IBC 2014

    Quantel deal with AFP at IBC 2014

  • Snell Kahuna Production Switcher at IBC 2014

    Snell Kahuna Production Switcher at IBC 2014

  • Editors Keys at NAB 2014

    Editors Keys at NAB 2014

  • Forbidden Technologies FORscene at BVE 2014

    Forbidden Technologies FORscene at BVE 2014

  • Forbidden Technologies FORscene App at BVE 2014

    Forbidden Technologies FORscene App at BVE 2014

  • Forbidden Technologies on BroadcastShow LIVE at IBC 2013

    Forbidden Technologies on BroadcastShow LIVE at IBC 2013

  • Lightworks on BroadcastShow Tour May 2013

    Lightworks on BroadcastShow Tour May 2013

  • Scott Hill uses EditShare: Lightworks at NAB 2013

    Scott Hill uses EditShare: Lightworks at NAB 2013

  • NUGEN Audio: Loudness Toolkit at NAB 2013

    NUGEN Audio: Loudness Toolkit at NAB 2013

  • Dalet at NAB 2013

    Dalet at NAB 2013

  • AJA at BVE 2013

    AJA at BVE 2013

  • Autodesk at NAB 2012

    Autodesk at NAB 2012

  • Avid at BVE North 2011

    Avid at BVE North 2011


Related Shows
  • Larry Jordan and Den Lennie talk editing at BVE

    Larry Jordan and Den Lennie talk editing at BVE


Articles
On Stage At Festival Beauregard
KitPlus Set in the majestic grounds of the Chateau de Beauregard, and in its eleventh year, the festival is an eclectic mix of homegrown French talent and international artists spanning pop, rock, punk and dance. We made the hop across the channel to find out more.
Tags: iss140 | blackmagic | atem | hyperdeck mini | KitPlus
Contributing Author KitPlus Click to read or download PDF
Complex Live Streaming At Scale
KitPlus On Saturday September 14th in the Content Everywhere Hub Theater at IBC, Zixi hosted a panel featuring partners and customers who have integrated with and utilized the Emmy-winning Zixi software for contribution and distribution of live video over managed and un-managed internet connections.
Tags: iss140 | zixi | streaming | video transport | ip | zen master | KitPlus
Contributing Author KitPlus Click to read or download PDF
Live Streaming Workflows Examined
Bryce Button In today’s hyperconnected world, audiences expect accessible, high quality content across the displays they see every day, whether at home or on the go, at a concert or church service, or even in the board room. There are a number of approaches professionals can take to deliver live content, but each workflow ultimately varies depending upon the delivery platform and the type of display that it’s intended for. There is no one-size fits all approach.
Tags: iss140 | aja video | espn | rtmp | helo | h.264 | nesn | wallcast | fido | Bryce Button
Contributing Author Bryce Button Click to read or download PDF
Solving Rigorous Digital Workflow Challenges
Michael Urban

Headquartered in New Zealand, The Rebel Fleet offers digital workflow services to top film and television production companies. Clients address broad creative needs and retain total image control across multiple shooting units with fast turnarounds. Recent projects include The Meg, Adrift, Ash vs Evil Dead, and The Shannara Chronicles.

The company was on the hunt for a scalable, high-performance storage solution that would meet the rigorous demands of a large-scale live-action film project for a major Hollywood studio.

Tags: iss140 | rebel fleet | alexa 65 | nas | quantum | stornext | qxs | storage | mam | Michael Urban
Contributing Author Michael Urban Click to read or download PDF
IBC 2019 Question Time
Jon Finegold

The media and entertainment industry is in an exciting period of transformation and innovation, and Signiant is thrilled to be in the midst of it. Nowhere was this energy more apparent than at this year’s IBC conference, where we had the opportunity to speak with a wide range of organizations, vendors, and thought leaders to better understand where M&E businesses are at, where they’re going, and what they need.

Now with IBC 2019 in the rearview mirror, we’ve been reflecting on everything we’ve learned, and Jon Finegold, Signiant’s CMO, has taken the time to share his experience from the conference, and how that might affect Signiant as we charge toward 2020.

Tags: iss140 | signiant | ott | streaming | media shuttle | Jon Finegold
Contributing Author Jon Finegold Click to read or download PDF