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| − | Welcome to the Post Center<br /> | + | Welcome to the Post Production Center<br /> |
| | <br /> | | <br /> |
| − | POST-PRODUCTION COORDINATOR<br /> | + | '''POST CENTER NEWS''' |
| | + | <br /> |
| | + | <br />'''Login to Workstation'''<br /> |
| | + | Students: Oasis# / Office 365 Password<br /> |
| | + | Faculty/Staff: AD600\Username / Office 365 Password<br /> |
| | + | <br /> |
| | + | If you haven't set up your Office 365 account, please follow the step by step guide<br /> |
| | + | [http://imamp.colum.edu/kb/images/e/e4/Step_by_Step_Guide_to_Office_365_login.pdf Step_by_Step_Guide_to_Office_365_login.pdf] |
| | + | <br /> |
| | + | |
| | + | |
| | + | '''Adobe Creative Cloud'''<br /> |
| | + | Personal Account: use personal credentials<br /> |
| | + | Enterprise Account (CCC) – Faculty/Staff: Office 365 Username / Password<br /> |
| | + | Enterprise Account (CCC) – Students: Oasis # / Office 365 Password<br /> |
| | + | <br /> |
| | + | '''POST-PRODUCTION COORDINATOR'''<br /> |
| | Ben Rogerson<br /> | | Ben Rogerson<br /> |
| | Phone: X6782<br /> | | Phone: X6782<br /> |
| | Email: brogerson@colum.edu<br /> | | Email: brogerson@colum.edu<br /> |
| − | | + | <br /> |
| | + | '''WHERE TO FIND US'''<br /> |
| | 1104 S Wabash Building<br /> | | 1104 S Wabash Building<br /> |
| | Room 602<br /> | | Room 602<br /> |
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| | Email: postcenter@colum.edu<br /> | | Email: postcenter@colum.edu<br /> |
| | | | |
| − | ===FALL HOURS: SEPTEMBER 4-DECEMBER 14=== | + | ===FALL HOURS: SEPTEMBER 3-DECEMBER 13=== |
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| | {| class="wikitable" | | {| class="wikitable" |
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| | | Friday || 10a-5p || | | | Friday || 10a-5p || |
| | |- | | |- |
| − | | Saturday || 10a-5p || | + | | Saturday || 11a-5p || |
| | |- | | |- |
| | | Sunday || Closed || | | | Sunday || Closed || |
| | |} | | |} |
| − | The facilities close promptly so save and lay off your projects before closing time. If you are still exporting your project at closing time, we will tell you to stop and do it during your next edit session. It is your responsibility to manage your time appropriately.<br /> | + | The facilities close promptly. It is your responsibility to manage your time appropriately. |
| | <br /> | | <br /> |
| | | | |
| − | === POST CENTER POLICY AND PROCEDURES === | + | ===POLICIES AND PROCEDURES=== |
| − | | |
| − | IDENTIFICATION<br />
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| − | All editing students are asked to leave their Student ID Card with the Post Center
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| − | for the duration of their editing time in exchange for any equipment or media.
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| − | The Post Center will NOT take any other form of ID. You will not be admitted without
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| − | your Columbia ID. The ID will be returned when the student leaves the Post Center.<br />
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| − | | |
| − | RESERVATIONS<br />
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| − | For all editing time, whether in or out of class, the editing facilities must be reserved,
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| − | either for you as an individual or for the class as a whole:
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| − | | |
| − | *1) Reservations are non-transferable. All unused reservations may be re-appropriated.
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| − | *2) Students may only use labs designated for their specific class. Enrollment in the college, Cinema and Television Art department, or even post production classes DOES NOT grant carte blanche access to all labs.
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| − | *3) Adv. Classes can make reservations over the phone or via email (postcenter@colum.edu).
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| − | **Digital Cinema Mastering, Practicum, Adv. Color, AES, and Grad
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| − | *4) Classes differ in the number of reservations students can make every week. Some classes also have standing reservations. Ask the Post Center for more information.
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| − | *5) NO SAME DAY RESERVATIONS<br />
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| | | | |
| − | UNCLAIMED RESERVATIONS AND WALK INS<br />
| + | Identification: All editing students are asked to show their Student ID Card to reserve or |
| − | In addition to reserving editing, transfer, or mix time, students may sign up for unclaimed editing time.
| + | check out a workstation.<br /> |
| − | | + | Post Center Reservations: For all editing time, whether in or out of class, the editing |
| − | *1) Reservations are held for 30 minutes past their start time. After 30 minutes, any unclaimed reservations are given away (re-appropriated) to students signed up and waiting on a “first come, first serve” basis; this includes standing reservations.
| + | facilities must be reserved, either for you as an individual or for the class as a whole:<br /> |
| − | *2) Any unreserved editing slots can be claimed at the start of the time slot.
| + | # Reservations are non-transferable. All unused reservations may be re-appropriated.<br /> |
| − | *3) At the beginning of every Edit slot, the Post Center will build a new re-appropriation list for each lab if full. All students waiting to claim a space must sign the list. Re-appropriation slots are on a first come, first served basis only.
| + | # Students may only use labs designated for their specific class. Enrollment in the college, Cinema and Television Art department, or even post production classes DOES NOT grant carte<br /> blanche access to all labs.<br /> |
| − | *4) Re-appropriation slots are for the current time slot only. All stations are cleared at the beginning of every time slot for the next round of reservations and re-appropriation.
| + | # Adv. Classes can make reservations over the phone or via email (postcenter@colum.edu).<br />Digital Cinema Mastering, Practicum, Adv. Color, AES, and Grad<br /> |
| − | *5) The re-appropriation list will go into effect 30 minutes after the original start time of the editing slot. Students on a re-appropriation list must be present at that time. If their name is called and they are not present the next person on the list will be given the open slot.
| + | # Classes differ in the number of reservations students can make every week. Some classes also have standing reservations. Ask the Post Center for more information.<br /> |
| − | *6) Students may have as many re-appropriated slots a week as they like, but they may only sign up for and use one slot at a time, i.e. you can only edit on one station at a time.<br />
| + | # NO SAME DAY RESERVATIONS<br /> |
| − | | + | Unclaimed Reservations and Walk-ins: In addition to reserving editing, transfer, or mix time, students may sign up for unclaimed editing time.<br /> |
| − | INTERDEPARTMENTAL AND FACULTY RESERVATIONS<br />
| |
| − | The facilities are intended expressly for use by Cinema and Television Art students for the furtherance of their assigned coursework. Requests for services by Cinema and Television staff and faculty must submit requests to Dennis Keeling (dkeeling@colum.edu) or Diego Trejo (dtrejo@colum.edu). Requests should include specifics needs, specifics about the project – running time, deadlines, and your availability.<br />
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| − | | |
| − | RESTRICTIONS
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| − | *1) No food, drink, or cell phones in the labs, re-recording stages, or edit suites. Do not smoke anywhere in the building. By law you must smoke 15 feet away from the entrance of the building.
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| − | *2) No shirt, no shoes, no service, please be appropriately attired.
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| − | *3) No personal electric devices such as lamps or space heaters are allowed.
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| − | *4) Personal equipment such as laptop computers, firewire drives, cameras, tablets, iPods, iPads, phones, thumb drives, etc. connected to post production computers by either faculty or students must read the External Equipment Policy below.
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| − | *5) Do not change cabling anywhere on the floor. Do not install, copy or remove software.
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| − | *6) To prevent virus infection, do not bring in foreign media or take Post Center media off the 6th or 7th floors. Do not take school hard drives or other equipment into restrooms.
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| − | *7) Make sure to return all equipment, media or supplies to the Post Center at the end of your session.
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| − | *8) The facilities do NOT buy or sell media of any kind. We do not offer any other media than what is given to you in class. If you need media immediately, you must purchase it off-site.
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| − | *9) Please be quiet in the editing labs. You may discuss your work with people, but be considerate of those working around you.
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| − | *10) To prevent spreading germs, please wash your hands before and after using any computer. If you use the bathroom, please wash your hands before returning to the lab to work.
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| − | *11) Students are assigned enough storage to complete only class assignments. If you run low on space, you are expected to remove unnecessary files.<br />
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| − | | |
| − | COLUMBIA COLLEGE PERSONAL EQUIPMENT POLICY<br />
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| − | Columbia College Chicago is not responsible for any damages or loss to student’s data files or hardware as a result of use in the College’s Cinema and Television Art Department facilities. Students assume all risks, including but not limited to, loss of student’s data files, corruption of student’s data files or hardware, and crashing of student’s hard drive, associated with student’s use of personal equipment and data files in the Cinema and Television Art Department facilities. The student shall hold Columbia College Chicago, its officers, directors, employees, agents and their successors harmless from any losses, claims, or damages incurred to student’s personal equipment and data files used in the Cinema and Television Art Department facilities.<br />
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| − | | |
| − | POST SOUND INTERNAL USE OF SOUND EQUIPMENT<br />
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| − | Equipment that can be utilized includes: Microphones and accessories, Headphones, Hard drives, and Flash drives. All devices will be inspected before and after they are checked out. Any defects will be noted and if you are found responsible appropriate actions will be taken in accordance with our Policy and Procedures. You may only check out devices that are assigned to your specific class(es). You must have had sufficient training in order to use certain pieces of equipment. Return microphones, headphones, flash drives, hard drives, and any other equipment checked out from the office when you are finished with your reservation.<br />
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| − | | |
| − | CODE OF ACCEPTABLE BEHAVIOR<br />
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| − | *1) It is expected that students, staff, and faculty will all treat each other with patience and respect. All those using the facilities are expected to comply with the guidelines in the student handbook, these policies and procedures, any posted signage, or any instructions given by workers on duty.
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| − | *2) Please remember that all workers are here to aid you in completing your assignments, to look out for your safety, to safeguard the facilities and to look after the interests of Columbia College. Most TA's are students like yourselves, learning the software and systems just as you are. They may know more or less than the student they are trying to help, but they are charged with finding any answers they do not immediately posses. Please do not ask friends working in the Post Center to bend the rules for you. We do not make exceptions for anyone. All students, graduate and undergraduate, will be treated with the same respect. All policies pertain to all students.
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| − | *3) Failure to comply with any of the prescribed procedures may result in loss of materials, reservations, or time. Failure to comply with any of the restrictions or code of behavior may result in loss of editing privileges. Severe infractions will be handled according to the student handbook.<br />
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| − | | |
| − | STATEMENT OF RESPONSIBILITY FOR OUTSIDE WORK<br />
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| − | Many students have asked to work on class editing assignments outside of Columbia College facilities. Here is the official position on this question:
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| − | *1) Some classes, or portions of classes are designed to teach you to use specific hardware and software with the direct supervision of your instructor. For those classes you are required to use Columbia College facilities only.
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| − | *2) Assignments are due on time and in the format specified for the class by the instructor, regardless of where or how they were edited. Deadlines may be changed due to the status of Columbia equipment or facilities, but will not be changed due to failure of your personal editing equipment.
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| − | *3) Working at home is a convenience and a privilege afforded to those students with the experience and skill to setup, maintain, and fully utilize their home editing systems. Students new to computerized editing or without the skills to take responsibility for any technical problems that arise should not be editing outside of Columbia College facilities.
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| − | *4) Columbia College post-production staff will never, officially recommend editing equipment or software, will not be held liable for any opinions they may express and will not provide in person, or telephone technical support for any student, home editing, transfer, or mix systems.<br />
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| − | | |
| − | Please let us know if you have questions about anything to do with the Cinema and Television ArtsPost Production Facilities. We are here to serve you and have these policies and procedures in place to keep things running as smoothly and productively as possible. The employees, student designer, engineers, faculty, and staff welcome you to our learning community. Thank you for your time and good luck with the rest of the semester.<br />
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| − | | |
| − | === WORK ORDERS ===
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| − | | |
| − | The Post Production Center will produce work orders for currently enrolled students, faculty and staff, for no charge. Self service VHS dubbing can be done in room 609.
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| − | *1) Fill out and sign a work order. These are available at the Post Center.
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| − | *2) Hand in the work order along with your source and destination to the Post Center.
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| − | *3) All media (external hard drive) must be clearly labeled with the the name of the responsible party, telephone number, and email.
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| − | *4) The facilities do not build reels.
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| − | *5) We do not do work orders while you wait. Work orders may take up to 1 week or even longer, depending on the size of the order. We will contact you when your work order is ready for pick up.<br />
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| | | | |
| | === LTO ARCHIVE – GRADUATE THESIS FILM === | | === LTO ARCHIVE – GRADUATE THESIS FILM === |
| | | | |
| − | Export a Master and Web version of your Thesis Film | + | Export a ProRes422HQ Master and H.264 Web version of your Thesis Film. |
| − | *Label your Files as follows: SEMESTER-YEAR_TYPE (MASTER or WEB)_TITLE_LASTNAME | + | *Label your Files as follows: SEMESTERYEAR_TYPE (MASTER or WEB)_TITLE_LASTNAME |
| | + | For Example: F19_MASTER_GOODFELLAS_SCORSESE |
| | | | |
| | Once you've exported your film, come to the Post Center and fill out a Graduate Thesis Archive Work Order. | | Once you've exported your film, come to the Post Center and fill out a Graduate Thesis Archive Work Order. |
| | | | |
| − | === CURRENT SOFTWARE ===
| + | If you can't drop off your film in person, please fill out the Grad Thesis work order. Submit your film via a direct download link using WeTransfer, Dropbox, etc. |
| | | | |
| − | === ADOBE PREMIERE WORKFLOW ===
| + | Email the links and the Work Order to brogerson@colum.edu and postcenter@colum.edu. |
| | | | |
| − | === AVID WORKFLOW ===
| + | [[Media:Grad_Thesis_Archive.pdf]] |
| − | CREATING A NEW AVID PROJECT
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| | | | |
| − | *STEP 1
| + | === CURRENT SOFTWARE === |
| − | **Launch Nexis Client Manager
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| − | **Mount Volume: Number/Oasis #
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| − | **Create the Avid Projects folder
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| − | **Check the Media Resolution (what’s the majority of the media)
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| − | **For example: 1920x1080 / 23.976fps
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| | | | |
| − | *STEP 2
| + | '''CC2018 - Adobe Premiere: 13.0.2''' |
| − | **Launch Avid
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| − | **User Profile – Create a new Profile for each new version of Avid
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| − | ***Editing ID: Your Name
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| − | ***Select External
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| − | ***Navigate to the Avid Projects folder on mounted volume
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| − | **Select New Project
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| − | ***Unique name (Project_Lastname)
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| − | ***Format (majority of footage)
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| − | ****Example: 1920x1080 / 23.976fps
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| − | **Select OK
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| − | **Select OK to launch your project
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| | | | |
| − | *ALWAYS launch your project from the Avid Project Window. Navigate to your Project folder using External or Shared.
| + | '''Avid: 2019.7''' |
| − | *NEVER launch your project by double-clicking the .avp file in your project folder. Doing so can cause corruption.
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| | | | |
| − | BACKING UP YOUR PROJECT AND USER
| + | '''DaVinci: 16''' |
| | | | |
| − | *STEP 1: ASSIGNED FLASH DRIVE
| + | === NEXIS CONNECTION MANUAL === |
| − | **Create an Avid Projects Back Up folder
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| − | ***Avid Projects Back Up
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| − | **Create a Dated folder for each edit session
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| − | ***Avid Projects Back Up > 20171024
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| − | **Copy the Project Folder from either the Avid Projects folder on your Nexis Partition or the Shared Avid Projects folder on the workstation’s desktop to the Dated folder.
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| − | ***Avid Projects Back Up > 20171024 > Project_Lastname
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| | | | |
| − | *STEP 2: ASSIGNED FLASH DRIVE
| + | [[Media:Avid Nexis Connection Manual.pdf]] |
| − | **Create an Avid User folder
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| − | ***Avid User
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| − | **Copy your User Profile from the Shared Avid Users folder on the desktop to the Avid User folder on your Flash drive
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| − | ***Avid User > Your Name
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| | | | |
| − | === DAVINCI RESOLVE WORKFLOW === | + | === ADOBE PREMIERE WORKFLOW === |
| − | === PRACTICUM ON SET PROCEDURES AND PROTOCOL ===
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| | | | |
| − | ON SET:
| + | [[Media:Getting Started With Premiere.pdf]] |
| | | | |
| − | *Camera and Sound – FRAME RATE 23.976 (Specify any intentional changes on camera reports)
| + | [[Media:Premiere SetUp Archive.pdf]] |
| − | *ALEXA Camera RAW: Confirmed by DOP/DIT: Sensor: 16:9 / Pro Res- 4444
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| − | *Dailies Codec: Pro-Res - 422 LT (Any other format, confirm with faculty)
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| − | *DIT and Camera should collaborate to confirm this is how they are indeed shooting.
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| − | *Onset Editorial should verify upon receipt of first handoff that frame rate is 23.976
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| − | *Camera Mags will be handed off to DIT as needed by camera dept. / Sound Files will be reloaded 2x per day - Once at lunch, and once at wrap. No Exceptions.
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| − | *Data received before lunch will be filed under the AM folders
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| − | *Data received after lunch will be filed under the PM folders.
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| − | **(Cards from camera + audio files from sound mixer)
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| − | ***AM handoff: lunch break
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| − | ***PM handoff: wrap
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| | | | |
| − | DIT EXPECTATIONS: DURING SHOOT
| + | === AVID WORKFLOW === |
| − | | |
| − | *DIT will ingest camera and sound files to ON SET DRIVES.
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| − | **Drives 1 + 2: CAMERA+SOUND NEGATIVE DRIVES (2x Guardian Maximus RAID 1 drives, reserved by production with the post center 1 week before principle, to be delivered to the DIT during CAMERA PREP).
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| − | **These drives are to be separated at EOD by production, and distributed to the DIT/data manager each morning. NO EXCEPTIONS
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| − | ***ONLY CAMERA+SOUND NEGATIVES will be catalogued on these drives.
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| − | **Drive 3: “COLOR DRIVE” - 3rd copy of all data.
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| − | ***To be used by DIT for NEGATIVES/ RENDERED DAILIES, and stored on the DIT cart at all times as a 3rd safety backup until end of semester.
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| − | **Drive 4: Editors ON SET DRIVE -
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| − | ***To be supplied by the on set editor, (reserved by the editor with the post center 1 week before production) and brought to the DIT at the mid-day break each day during production to be catalogued and updated.
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| − | ***This drive holds Dailies/proxies, and original sound files as a backup measure for editor to ensure synch dailies are completed).
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| − | ***THIS DRIVE MUST BE TURNED INTO THE POST CENTER 1 DAY AFTER WRAP OF PRINCIPLE TO DISTRO DAILIES/PROXIES CREATED BY DIT.*
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| − | **Drive 5 - DIT Thumb-drive (Supplied by post center, reserved by DIT) -
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| − | ***To be used for .CUBE LUT files, .DRP project file (DaVinci Resolve Project file), and DIT stills. (This drive is to be catalogued by post to re-link “source files” in the D.I.)
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| − | | |
| − | DIT WILL:
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| − | | |
| − | *Catalogue raw footage to the RAW DRIVES and import all footage to resolve using the DIT COLOR DRIVE.
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| − | *Export color corrected footage (synced with audio) and .CDL LUTS. DIT must deliver to drive 3 (Color drive). DIT must update drive 4 daily with EDITOR, on set.
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| − | *Provide Editor with all renders and reports. Ensure all logs + reports from: Camera, Sound, Script to deliver to EDITOR.
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| − | | |
| − | AFTER SHOOT:
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| − | | |
| − | *After shoot is done, DIT will deliver drives 1,2, and 5 to the POST CENTER (6th floor). Footage will be archived and prepped by the post center for the D.I. and distributed accordingly.
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| − | | |
| − | SOUND RECORDIST WILL:
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| − | | |
| − | *Verify frame rate of 23.976
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| − | *Supply Audio Files to DIT 2x per day. Once at break, and once at wrap.
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| − | *Sound dept must provide SOUND LOGS with all tracks properly identified (what tracks were recorded and what was their placement) to DIT, and Line Producer.
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| − | | |
| − | NOTES FOR DIT/EDITORIAL/PRODUCTION:
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| − | | |
| − | *If needed, production will create duplicate copies of any documents for their records, with the support of the DIT/editor.
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| − | *Each department will have (1) copy of on set reports.
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| − | | |
| − | EDITORIAL:
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| − | | |
| − | *Begin organizing project
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| − | **Verify footage, FRAME RATE, sync and inclusion of all reports - Consult with DIT.
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| − | ***Do all reports accurately reflect what you received?
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| − | **Create the AVID Project, begin to organize media.
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| − | ***Build a circled-takes only dailies sequence with the Pro Res files for each Camera Roll. You will screen dailies on Wednesday using these sequences linked to the Editor’s Onset Drive. ?
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| − | **Be available to consult with director on coverage by doing quick assemblies as needed.
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| − | | |
| − | LEAVING THE SET EACH DAY AT WRAP: DIT/EDITORIAL/PRODUCTION:
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| − | | |
| − | *Each Drive must leave the set separately
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| − | **Drive 1 (Guardian Maximus 1) -
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| − | ***Leaves with Producer/Line Producer; carrier must sign DPR
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| − | Must be delivered to the 6th Floor Post Center by 10 am on Tuesday after the last day of shooting
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| − | **Drive 2 (Guardian Maximus 2) -
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| − | ***Leaves with Line Producer or production staff; Carrier must sign DPR
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| − | Must be delivered to the 6th Floor Post Center by 10 am on Tuesday after the last day of shooting
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| − | **DIT handles Drives 3 + 5
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| − | **EDITOR takes the Editor’s Drive and the Onset Laptop back to the Post Center. Consult DIT for delivery timeline of final dailies. Update faculty on said timeline.
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| − | | |
| − | DAILIES will screen on Wednesday after principle photography.
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| − | | |
| − | === D3/AES ON SET PROCEDURES AND PROTOCOL === | |
| − | | |
| − | ON SET:
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| − | | |
| − | *Camera and Sound – PROJECT / RAW FRAME RATE 23.976 (Specify any intentional changes on camera reports)
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| − | *RED Camera RAW: Confirmed by DOP/DIT: R3D RAW / RED COLOR (TO BE DEFINED BY DOP/DIT/CINEMA FACULTY
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| − | *Dailies Codec: ProRes-422 W/SOURCE FILE NAME (Burn in, confirm with faculty)
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| − | *DIT/CAMERA/FACULTY should collaborate to confirm this is how they are intentionally shooting / delivering.
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| − | *Hand Off: No Exceptions
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| − | **Camera Mags will be handed off to DIT as needed by camera dept.
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| − | **Sound Files will be reloaded 2x per day - Once at lunch, and once at wrap.
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| − | *Data received before lunch will be filed under the AM folders.
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| − | *Data received after lunch will be filed under the PM folders.
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| − | **(Cards from camera + audio files from sound mixer)
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| − | ***AM handoff: Promptly at lunch break
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| − | ***PM handoff: Promptly at wrap
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| − | | |
| − | DIT EXPECTATIONS: DURING SHOOT
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| − | | |
| − | *DIT will ingest CAMERA and SOUND NEGATIVE to ON SET DRIVES.
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| − | **Drive 1: COLUMBIA DRIVE
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| − | ***The .CUBE LUT files, .DRP file (DaVinci Resolve Project file), and DIT stills should be copied to this drive following the completion of dailies
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| − | **Drive 2: DIRECTOR DRIVE
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| − | ***PURCHASED by production, 1 week before principle: To be delivered to the DIT during CAMERA PREP, SEE DIT/FACULTY SPECS
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| − | *These drives are to be separated at EOD by production and distributed to the DIT each morning. NO EXCEPTIONS.
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| − | **Drive 3: COLOR DRIVE - 3rd copy of all data.
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| − | ***To be used by DIT for NEGATIVES/ RENDERED DAILIES and stored on the DIT cart at all times as a 3rd safety backup until end of semester.
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| − | | |
| − | DIT WILL:
| |
| | | | |
| − | *Catalogue raw footage to DRIVES 1, 2, and 3.
| + | [[Media:Avid SetUp Archive.pdf]] |
| − | *Import/render all footage with DaVinci Resolve using the Drive 3 - COLOR DRIVE.
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| − | *Export color corrected footage (synced with audio) to Drive 3 - COLOR DRIVE.
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| − | **Copy DAILIES to Drives 1 (COLUMBIA) and 2 (DIRECTOR).
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| − | **Copy .CUBE LUT files, .DRP file (DaVinci Resolve Project file), and DIT stills to Drives 1 (COLUMBIA and 2 (DIRECTOR)
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| − | *Provide Editor all logs + reports from: Camera, Sound, and Script.
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| | | | |
| − | LEAVING THE SET EACH DAY AT WRAP:
| + | === DAVINCI RESOLVE PROJECT ARCHIVE === |
| | | | |
| − | *Each Drive must leave the set separately
| + | [[Media:DaVinci Archive.pdf]] |
| − | **Drive 1 (COLUMBIA DRIVE) – Determine who is responsible
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| − | **Drive 2 (DIRECTOR DRIVE) – Determine who is responsible
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| − | **Drive 3 – Lives on DIT Cart
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| | | | |
| − | AFTER SHOOT:
| + | === ADVANCED PRODUCTION ON SET PROCEDURES AND PROTOCOL === |
| | | | |
| − | *DIT completes the DAILIES using the DIT Cart.
| + | On Set Dailies – [[Media:DIT_DaVinci_Resolve_Workflow.pdf]] |
| − | *Once DAILIES are complete, Deliver Drive 1 (COLUMBIA) and Drive 2 (DIRECTOR) to the Post Center (6th Floor 1104 S Wabash) for LTO Archive and Verification.
| |
| | | | |
| − | SOUND RECORDIST WILL:
| + | Practicum: On Set Procedures – [[Media:PRACTICUM DIT WORKFLOW.pdf]] |
| | | | |
| − | *Verify frame rate of 23.976
| + | Directing 3 / AES: On Set Procedures – [[Media: D3 DIT WORKFLOW.pdf]] |
| − | *Supply Audio Files to DIT 2x per day. Once at break, and once at wrap.
| |
| − | *Sound must provide SOUND LOGS with all tracks properly identified (what tracks were recorded and what was their placement) to DIT.
| |
| | | | |
| − | NOTES FOR DIT/EDITORIAL/PRODUCTION:
| + | On Set Data Management – [[Media:Data Wrangler On Set Procedures.pdf]] |
| | | | |
| − | *If needed, production will create duplicate copies of any documents for their records, with the support of the DIT/editor.
| + | '''LOGS''' |
| − | *Each department will have (1) copy of onset reports.
| |
| | | | |
| − | EDITORIAL:
| + | [[Media:Data Wrangler Log.pdf]] |
| | | | |
| − | *Begin organizing project
| + | [[Media:CCC Camera Log.pdf]] |
| − | **Verify footage, FRAME RATE, sync and include of all reports - Consult with DIT.
| |
| − | ***Do all reports accurately reflect what you received?
| |
| − | ***Create the Project, begin to organize media.
| |
| | | | |
| | === TAKE 1 FILM FESTIVAL === | | === TAKE 1 FILM FESTIVAL === |
| | | | |
| − | [[File:Take 1 Submission Workflow.pdf|thumb]] | + | [[Media:Take 1 Submission Workflow.pdf]] |
| | | | |
| − | Please follow the steps in the above document to successfully finish and submit your film to the Take1 Film Festival. Email take1@colum.edu with any questions.<br /> | + | Please follow the steps in the above document to successfully finish and submit your film to the Take1 Film Festival.<br /> |
| − | <br /> | |
| | | | |
| | === FRAMEWORK === | | === FRAMEWORK === |
| | | | |
| − | [https://www.colum.edu/academics/media-arts/initiatives/framework-interviews.html FrameWork Interviews and Application] | + | [https://www.colum.edu/academics/initiatives/framework-interviews.html What is FrameWork?] |
| | + | |
| | + | [https://vimeopro.com/ctva/framework2019 2019 FrameWork] |
The facilities close promptly. It is your responsibility to manage your time appropriately.
Identification: All editing students are asked to show their Student ID Card to reserve or
check out a workstation.
Post Center Reservations: For all editing time, whether in or out of class, the editing
facilities must be reserved, either for you as an individual or for the class as a whole:
Unclaimed Reservations and Walk-ins: In addition to reserving editing, transfer, or mix time, students may sign up for unclaimed editing time.
Once you've exported your film, come to the Post Center and fill out a Graduate Thesis Archive Work Order.
If you can't drop off your film in person, please fill out the Grad Thesis work order. Submit your film via a direct download link using WeTransfer, Dropbox, etc.
Email the links and the Work Order to brogerson@colum.edu and postcenter@colum.edu.
Please follow the steps in the above document to successfully finish and submit your film to the Take1 Film Festival.
