Tag Archives: Workflow

Use a Droplet to Prep Audio for FCP

Use a Droplet to Prep Audio for FCP

So I’ve had a chance to work for a while on FCP, and I have a few things in mind to post on it. First, though, a very simple trick to help with importing properly configured audio into FCP.

The Issue

FCP, like Avid, prefers uncompressed audio over MP3s, M4As, etc. It’s not that it doesn’t work when you import a MP3 into FCP, it just doesn’t work well. You’ll hear all sorts of clicks and dropouts as you play through the track, so to prevent this you need to convert your audio to WAV or AIF before you import. There is a program called Loader that will convert your audio for you, copy it to a specified folder, and then import it, but it costs $79. The other way you can do two out of those three actions (converting, copying to a specified folder) is to make a Compressor droplet. You still have to import it on your own, but to save $79 I think that’s a pretty good trade-off.

Compressor Droplets

Any compression setting in Compressor can be converted into a standalone application called a Droplet. As you might infer, you can drop things like files onto the Droplet, and it will then process that file into whatever setting the Droplet is programmed with. You can also specify a destination folder for that Droplet and tell it to run silently. Each file you drop onto it will queue up and encode immediately, with the resulting file being placed in your predetermined destination folder.

For me, I have two droplets, one for Mono and one for Stereo (both 24-bit/48k AIF)

Stereo Compression Setting

The image above is for the stereo setting, from which I then make a Droplet in the Settings window:

Make a Droplet

Once you click the Make Droplet button, a dialog will come up asking you where you want to save the Droplet itself, as well as which Destination (defined in the Destinations tab) you’d like that Droplet to send its files to:

Saving a Droplet

Once you click Save, your Droplet will appear wherever you saved it (on my Desktop in my case), and you can proceed to drop files onto it. The first time you run the Droplet a dialog will come up confirming your settings, and you should uncheck the “Show at Launch” checkbox in the lower left corner so that the Droplet runs silently in the future.

Once the compression is done (keeping Batch Manager handy is a good idea to check progress, though most audio takes a very short amount of time), you can import your new files into FCP and cut away.

Screenshot of the Hellboy 2 Avid Project Window

Organizing a Project’s Reels and Versions

This article is a little outdated (sorry!). I need to do a thorough rewrite, but in the meantime know that since 2008 I’ve decided to contradict my writing below and just use R1v## as my reel format. When I hit a milestone I make a new bin, label it as Director’s Cut or Assembly or Preview #2, throw the appropriate sequences in there, and then stash the bin in an easy to find folder in my project. It works pretty well, and I’ve found the fewer characters in your reel names, the easier it is on everyone.

 

The determination of how to organize all of the sequences you’ll create during the course of your project is extremely important, but unfortunately it is also nearly impossible to standardize. I work in features primarily, so while my organizational system is based around reels and suits me just fine, it would need a lot of modification were I to go to episodic or reality TV, commercials, etc. Individual editors also have their preferences for organization based off of how they are accustomed to working, and if you’re an assistant editor your degree of influence over the project’s organization will vary depending on how much the editor wants to delegate this type of organization to you.

With all that in mind, I wanted to set forth a description of the system that I use to keep all my reels in order on a feature. I’ve seen quite a few organizational systems used in different editing rooms, both on films I’ve worked on and ones I’ve just visited, and so far this is the best one I’ve seen. Thanks to editor Sean Albertson and 1st assistant editor Seth Clark for introducing it to me on Rocky Balboa.

Organization By Milestone

One of the most frequent organizational structures I see used by others uses a simple version number attached to the name of the reel. The problem with this is that you get up to these massive version numbers (R1AB_v72, R2AB_v117, etc.), and there’s no common element to link all these versions together in a meaningful way. The system I use has two levels of versioning included in the name of the reel; one is to track a milestone like a director’s cut or a preview screening, and the other is to track the individual versions of a reel created leading up to that milestone. For example:

A sequence name I might use is: R3_DC1_v4, which breaks down like:
R3 = Reel Three
DC1 = Director’s Cut 1 (this is the milestone)
v4 = The 4th version of Reel 3 for Director’s Cut 1.

Using this system, I can not only group my bins and sequences according to the progress of the project, but I can also make sure other departments are working with all of the right reels quickly and easily. Additionally, as it’s often the case that a director/studio/editor wants to go back and look at a previous version, with this system the editor can instantly find and pull up an old version from the project window so long as he knows roughly when the version he is looking for was created.

Screenshot of the Hellboy 2 Avid Project Window

Screenshot of Hellboy 2 project organization. In the project window you can see DC1-DC6 folders. The bins on the right show DC7

Defining Reels

This is global across all organizational systems, so feel free to skip this section if you already know about delineating reels.

Once you’ve got all, or at least most, of your scenes cut, you’ll probably want to create reels out of everything. The general guidelines for creating reels are that your first reel be no longer than 1600 feet from Picture Start to Last Frame of Action (LFOA). All remaining reels should be no more than 2000 feet, though there is a little bit of slack on all of these numbers. With the exception of the beginning of R1 and the end of your credits, no reel should start or end on black. Similarly, don’t cut a reel in the middle of a piece of music. The best reel breaks are between scenes that have no picture or audio transition, so that the break is as seamless as possible. You also want to avoid cutting a reel in the middle of a scene, even if there are no picture or audio transitions, since you may find that the color of your reels varies slightly and a reel break in the middle of a scene could produce a color shift.

Defining Milestones

Ok, so assuming that you decide to use this system, it’s important to know when to create a new milestone. I usually create milestones for the Editor’s Cut (EC), the Director’s Cuts (DC1, DC2, etc.), Previews (PV1, PV2, etc.), and Locks (LOCK1, LOCk2, etc.). And if you’re wondering why I allow for multiple locked cuts, I’d like to know what director you’re working for and if he or she is hiring.

You don’t want to create too many milestones or you risk confusing all of the departments that rely on your organizational system. At the same time, don’t create too few since that will defeat the purpose of organizing your reels this way and make finding old cuts much more difficult. I find that the key to creating a new milestone is to decide whether or not you’ve reached a point in the project that you want to save, including if you’re about to make a very significant change that you want to delineate from previous versions. To rephrase the question, you can also ask yourself whether you’re going to need to create an output of this sequence anytime in the future. For those milestones I mentioned above, clearly you want to have easy access to them since by the time all is said and done you will likely have needed to make more than a few outputs for the studio/director/sound dept/etc.

A final note: If you like, you can simplify the creation of milestones by sticking to a single abbreviation like “DC”.  On Hellboy 2 my milestones went from DC1 – DC7 because everything was happening so quickly and there were constantly new hires coming in for sound, so I felt it was safer to keep the system as simple and predictable as possible. The downside of this is that it’s not as clear to anyone who looks at this project later what each DC number represents, even though I know DC3 was our first preview, and DC6 was our first lock.

Defining Versions

How you elect to version your sequences is something that needs to be figured out between the editor and assistant editor. Some editors I work with prefer to manage their own versions and just rely on me to define the milestones. Others prefer that I manage everything and create new versions nightly or weekly. In the end it doesn’t really matter how you version the sequences so long as the system works for you and, at the end of a milestone, you can pop open your reel bins and see what the final version of that reel is for that particular milestone.

Conclusion

Hopefully this has been a clear explanation of how I like to organize my reels on a feature film. Please let me know how it goes if you decide to try this out, and if anything is unclear or needs further explanation, leave a comment below!

Organizing an Editorial Department Using Backpack

UPDATE: So my experiment with Backpack came to a premature end. I took another job that came up unexpectedly, so I never got to finish testing out Backpack. I would like to go back to it, though, or try out Basecamp instead. Next time!

Once the craze of Production is over and a temporary period of relative relaxation (known as the Director’s Cut) begins, it becomes time to clean up any messes leftover from Production and truly get the department in order. I’ve decided to use the cleanup period I’m currently in to test drive an organizational web app called Backpack. Made by 37Signals, Backpack is like a ready-made intranet for your office. All you need to do is get people to remember to use it.

I’ve had Backpack up and running for two weeks (out of a 1-month free trial) as of the writing of this post, and it’s been useful enough that I’ll probably start to pay for it when the month expires. For 6 users, which is convenient since there are 6 of us in Editorial right now, it’s $24/month.

Thoughts

I’ll update this as we get further along in our testing, but having an Editorial intranet has long been something I’ve wanted to try out. Since starting to work as an assistant editor, I’ve been conscious of the sheer amount of information I have to remember and then share with the rest of my Editorial team. If I’m the only assistant editor to stay on through both production and post-production, that means I’m the only one who knows all the ins, outs, and irregularities of the film, and bringing other people up to speed takes a lot of time. I’m also a big proponent of open access to information, and I like it when every person in the department can be self-sufficient to a great degree. I don’t want to micromanage a Quicktime output, for example, so I like the other assistant editors on my team to have access to all the same information, email, and contacts that I do, and I find that sharing information freely increases the efficiency with which things get done.

The only barriers stopping me from doing this before were the need to have an in-house server, and that I would be the one who’d have to set it all up and maintain it. Since my main job responsibilities kind of preclude me from having the time to setup and maintain a server, going with another company’s web app is a very appealing option. In addition to Backpack, I also considered Zoho and Google Apps For Your Domain, but in the end the simplicity of Backpack won out.

The only thing so far that has irked me a little is that in its strive for simplicity I’ve found the documentation a little too sparse. For instance, including a Google Map inside a Page turned out to be a piece of cake, but to do that you have to add a Note inside your Page, and nowhere does it say how much HTML/CSS/Javascript you can include. Regardless, here are a few of the highlights of using Backpack.

Journal

The Journal seems to be the least touted feature on the Backpack product page, but it’s where I find all of us spending most of our time. The Journal is akin to a Facebook News Feed. It consists of two boxes, one to list a status update of what you’re currently doing, and another to describe what you have completed. The status update is temporary, and keeps no log of your actions. When you add a completed action, though, that gets appended to the timeline so you can see what people have finished.

As you can see below, it’s useful to for staying informed on what everyone is working on, what tasks they’ve completed, and where to go for lunch.  It’s a pretty simple feature, but it gives us great at-a-glance information on what tasks have been completed and how the day is being spent.

Backpack Journal

Backpack's Journal page (somewhat Photoshopped)

Calendar

On Hellboy 2 our Post Supervisor entered our post schedule into iCal and then shared it through mac.com. That made it easy for all of us (since we were all on Macs) to subscribe to his iCal calendar and stay up to date the instant he made changes to the schedule. I didn’t need to keep track of multiple versions of a calendar that was emailed to me as a PDF, and at the moment I needed to know what was happening I could just open iCal and see the most current schedule reflected right there. For the film I’m on now, I wasn’t willing to shell out the cash for mac.com (now MobileMe), but I still wanted an online calendar that everyone else in the office could subscribe to. For this you can use something like Google Calendar, which I was already using before trying out Backpack, or you can use Backpack’s built-in Calendar.

There are two ways you can use the Backpack Calendar. One is to have Backpack sync its internal calendar with your externally-hosted one (Google Calendar, MobileMe, etc.). The other is to use Backpack as your calendaring software. Since I already had our post schedule on Google Calendar, I just created a Backpack calendar that subscribes to my Google Calendar feed. With this setup, Backpack will sync itself every hour or so to your GCal feed. There is no way to manually sync Backpack, or to change the interval with which it syncs to GCal. Here at the office, I have everyone subscribe their iCal software to my Google feed as well, so that they can refresh iCal at any time, which makes Backpack’s calendar a well-positioned reference, but not the actual source of our online schedule.

Any calendar on Backpack has an iCal address also, so you can subscribe to your Backpack calendar if that’s where you’ve entered all your events and stay up to date in iCal that way. You can also subscribe in iCal to a Backpack calendar that is in turn subscribing to a Google Calendar, but then your iCal is at Backpack’s mercy as to when it updates to reflect new changes.

Backpack's Calendar

Backpack's Calendar

Pages

Last of the features I’ll go over are Pages. This can be like your own little wikipedia. When you create a page, you can set it so that anyone can edit it, and through this they become useful as ever-updating reference for commonly-accessed information like FTP logins and crew contact info.  You can add checkboxes, HTML, images, and attachments to a page. To date, I’ve created a page for:

  • Server logins: Here, everyone has access to all of the FTP, Digidelivery, iDisk, and web site credentials necessary to transfer material to/from Editorial. When we get information on a new server we have to access, anyone can update the server logins page so that it’s easily accessible to others in the future.
  • Delivery specifications: This is where I put all of the Quicktime/tape specs for any department we deliver material to. Right now we only have the music information filled in, but when sound, vfx, and mixing stages start up, we’ll add all their info so that if I ask another assistant editor to make a Quicktime for sound, they can reference what that Quicktime spec is.
  • Basic info: I created a simple page with the address and contact information for everyone in Editorial. When an editor is on the phone and wants to know what our fax number is, they can look here (or shout at me across the hall). I also store our full contact sheet here for quick reference, as well as a condensed version that can be emailed out to new vendors.

Backpack Pages

Backpack Pages (map location altered for privacy reasons)

The Rest

The remaining features of Backpack are Reminders, Writeboards, and Messaging. Reminders are what you’d think: you set a To-Do item and it reminds you by email or SMS when that To-Do item is due.

Writeboards are similar to pages, except with version control. Every time you save a Writeboard, it makes a new version and archives the previous one. You can revert or compare versions at any time, and again, you can set it so that everyone can edit them. I’m trying this feature out for edit notes that need to be addressed, but the way the interface is organized makes the Writeboards a bit buried, especially if you want to include one in a Page. The other thing is that unless you need version control, just working on a Page might be a bit more user-friendly.

Messaging is basically just an internal forum. You can initiate a message to everyone (or certain people), and they can log on and reply. I haven’t found a need for this feature yet in terms of something specific to Editorial, but as a way to get everyone’s Starbucks orders it’s turned out to be pretty handy!