Mac: Select all clips, hit apple key and right click and you will see the total listed in the popup tab. On PC: Select all clips, right click and hit properties for a count. Use a user-error-free method when checking or comparing clip counts your eyes get tired. This is basic, but you would be surprised how often people don’t double check and end up missing a camera roll or report. Put sound and camera reports in numerical order so that missing reports are obvious and you don’t annoy anyone with your jumbled paperwork.ĭon’t soak media or paperwork in coffee and then wonder why it doesn’t work or post can’t read it.Ĭompare camera and sound reports to your media before it leaves set. Don’t let production short change you on this. Some cameras have the ability to repair corrupt files, so catch them early and fix them on set when possible.īack up camera media to no less than two raids or hard drives. Maybe basic, but do spot checks on video clips: Scrub the video files and look for errors. If media is missing, it’s not the software’s fault, it’s yours. Visually check the media and compare file sizes. You should always make sure the media that ‘offloaded’ is there. Verified offload software like Shot Put Pro are not flawless (sorry). This makes text clearer and helps server based file checksums, online use, robots and other things. Never place spaces in file names use an underscore between words. I worked with an angry camera loader who thought it was funny to create so many levels of empty folders that he almost corrupted all of the camera media on a hard drive. Don’t leave any room for confusion.ĭon’t name stuff dumb: folder structures that look like G:\g\o\.\f\u\c\k\.\y\o\u\r\s\e\l\f\A_CAM. Make sure to include the date, project name, episode, production day, first break, wrap, etc. Twenty-hour days in a dark room are a thing, and they are on your team after all.īe very specific when creating folders or sending emails involving media. It’s a good idea to clarify what OS you use when sizing files outside checksum programs.Īlways be polite to post because you don’t know what their workload is like or how many hours they have been working. For instance, Mac uses the GB measurement and PC uses GiB. You don’t want a late night call if something is missing we hate waking people up.įile sizes are measured differently depending on what operating system you are using. If you’re sending more than one drop a day to post, provide a second copy of the earlier sound rolls at the end of the day. This helps everyone easily identify and inventory the media. Include the production name (abbreviation), date and sound roll number on the outside of the media if possible. You need to be able to reference a sound roll beyond, “Hey man, do you have a compact flash card with the audio on it?” Please recite this mantra when going to set: “Ohm, redundancy, redundancy.”Īlways make sure your media is labeled! And not just for camera. So, as someone who makes a living generally working in-between set and post, here are some helpful tips to alleviate stress when managing data and help gel relations with oddballs in post. I prepare footage for post, whether that means transcoding dailies, creating verified backups of camera cards, logging media and reports, assistant editing, pushing data to post houses or managing media for formatting and reuse. When recorded media (audio and video) leaves set, it often goes through someone like me. In fact, there is often ambiguity between these positions, especially when shooting on a remote location or within a studio environment that’s trying to save money. I’m not here to argue what a digital loader, data wrangler, DIT (Digital Imaging Technician) or a post-production data manager does.
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