Difference between revisions of "Post Production Center"

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(TAKE 1 FILM FESTIVAL)
(PRACTICUM ON SET PROCEDURES AND PROTOCOL)
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=== PRACTICUM ON SET PROCEDURES AND PROTOCOL ===
 
=== PRACTICUM ON SET PROCEDURES AND PROTOCOL ===
 
ON SET:
 
 
*Camera and Sound – FRAME RATE 23.976 (Specify any intentional changes on camera reports)
 
*ALEXA Camera RAW: Confirmed by DOP/DIT:  Sensor: 16:9 / Pro Res- 4444
 
*Dailies Codec: Pro-Res - 422 LT (Any other format, confirm with faculty)
 
*DIT and Camera should collaborate to confirm this is how they are indeed shooting.
 
*Onset Editorial should verify upon receipt of first handoff that frame rate is 23.976
 
*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.
 
*Data received before lunch will be filed under the AM folders
 
*Data received after lunch will be filed under the PM folders.
 
**(Cards from camera + audio files from sound mixer)
 
***AM handoff: lunch break
 
***PM handoff: wrap
 
 
DIT EXPECTATIONS: DURING SHOOT
 
 
*DIT will ingest camera and sound files to ON SET DRIVES.
 
**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).
 
**These drives are to be separated at EOD by production, and distributed to the DIT/data manager each morning. NO EXCEPTIONS
 
***ONLY CAMERA+SOUND NEGATIVES will be catalogued on these drives.
 
**Drive 3: “COLOR DRIVE” - 3rd copy of all data.
 
***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.
 
**Drive 4: Editors ON SET DRIVE -
 
***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.
 
***This drive holds Dailies/proxies, and original sound files as a backup measure for editor to ensure synch dailies are completed).
 
***THIS DRIVE MUST BE TURNED INTO THE POST CENTER 1 DAY AFTER WRAP OF PRINCIPLE TO DISTRO DAILIES/PROXIES CREATED BY DIT.*
 
**Drive 5 - DIT Thumb-drive (Supplied by post center, reserved by DIT) -
 
***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.)
 
 
DIT WILL:
 
 
*Catalogue raw footage to the RAW DRIVES and import all footage to resolve using the DIT COLOR DRIVE.
 
*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.
 
*Provide Editor with all renders and reports. Ensure all logs + reports from: Camera, Sound, Script to deliver to EDITOR.
 
 
AFTER SHOOT:
 
 
*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.
 
 
SOUND RECORDIST WILL:
 
 
*Verify frame rate of 23.976
 
*Supply Audio Files to DIT 2x per day. Once at break, and once at wrap.
 
*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.
 
 
NOTES FOR DIT/EDITORIAL/PRODUCTION:
 
 
*If needed, production will create duplicate copies of any documents for their records, with the support of the DIT/editor.
 
*Each department will have (1) copy of on set reports.
 
 
EDITORIAL:
 
 
*Begin organizing project
 
**Verify footage, FRAME RATE, sync and inclusion of all reports - Consult with DIT.
 
***Do all reports accurately reflect what you received?
 
**Create the AVID Project, begin to organize media.
 
***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.  ?
 
**Be available to consult with director on coverage by doing quick assemblies as needed.
 
 
LEAVING THE SET EACH DAY AT WRAP: DIT/EDITORIAL/PRODUCTION:
 
 
*Each Drive must leave the set separately
 
**Drive 1 (Guardian Maximus 1) -
 
***Leaves with Producer/Line Producer; carrier must sign DPR
 
Must be delivered to the 6th Floor Post Center by 10 am on Tuesday after the last day of shooting
 
**Drive 2 (Guardian Maximus 2) -
 
***Leaves with Line Producer or production staff; Carrier must sign DPR
 
Must be delivered to the 6th Floor Post Center by 10 am on Tuesday after the last day of shooting
 
**DIT handles Drives 3 + 5
 
**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.
 
 
DAILIES will screen on Wednesday after principle photography.
 
  
 
=== D3/AES ON SET PROCEDURES AND PROTOCOL ===
 
=== D3/AES ON SET PROCEDURES AND PROTOCOL ===

Revision as of 17:45, 5 September 2018

Welcome to the Post Center

POST-PRODUCTION COORDINATOR
Ben Rogerson
Phone: X6782
Email: brogerson@colum.edu

1104 S Wabash Building
Room 602
Phone: 312.369.6770
Email: postcenter@colum.edu

FALL HOURS: SEPTEMBER 4-DECEMBER 14

Day Hours Notes
Monday 10a-9p
Tuesday 10a-9p
Wednesday 10a-9p
Thursday 10a-9p
Friday 10a-5p
Saturday 10a-5p
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.

POST CENTER POLICY AND PROCEDURES

File:Post Center Policies.pdf

LTO ARCHIVE – GRADUATE THESIS FILM

Export a Master and Web version of your Thesis Film

  • Label your Files as follows: SEMESTER-YEAR_TYPE (MASTER or WEB)_TITLE_LASTNAME

Once you've exported your film, come to the Post Center and fill out a Graduate Thesis Archive Work Order.

CURRENT SOFTWARE

Adobe Premiere: 12.1.1

Avid: 2018.8.0

DaVinci: 15

ADOBE PREMIERE WORKFLOW

File:Getting Started With Premiere.pdf

File:Premiere SetUp Archive.pdf

AVID WORKFLOW

File:Avid SetUp Archive.pdf

DAVINCI RESOLVE PROJECT ARCHIVE

File:DaVinci Archive.pdf

PRACTICUM ON SET PROCEDURES AND PROTOCOL

D3/AES ON SET PROCEDURES AND PROTOCOL

TAKE 1 FILM FESTIVAL

File: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.

FRAMEWORK

FrameWork Interviews and Application