Digital Editing Practices and Technology:

Create 2 simple guides that suitably describe the common Formats and Workflows commonly used or found in the Post-Production industries.

Contents should include the following: 

Annotated Diagram of a typical Post-Production Workflow, e.g. Offline/Online, Assembley Edit, Intermediate Files, Proxies, Locked Edit, A & B Rolls, etc. Annotated Diagram of typical Post-Production Formats (Image and Audio) e.g. Raster/Vector Graphics, MPEG Compression, Lossless/Lossy Codecs, etc.

Phase 1: “Acquisition”

1) Why can’t we edit efficiently with “lossy” codecs?

We can’t edit efficiently with lossy codecs because lossy deletes re-occurring frames and we can’t edit accurately with the remaining 2 or 3 frames we have left (first, last, and bi lateral frames). We then have

to use proxies that have all the frames for editing and have a smoother playback, but have lower resolution, luminance, and chroma value so it can keep up with the slow R.A.M. Proxies make it easier to edit, preview, and correct our project in real-time.

2) Why is it important to preserve frame rates; duration; and file names when creating proxies?

When creating proxies it is important to keep our frame rates, the duration, and file names consistent throughout our editing workflow. If we fail to do so, we will encounter many problems such as rendering issues, misplaced files, and unsynchronized sound and or video.

Phase 2: “Offline” or “Assembly”

1) Why do we log and label files?

We log and label files so we can be more organized and find things more easily rather than looking for ages for them. It also helps if someone in your group is sick or cannot make it in that day, and someone else needs to edit instead. It makes things more tolerable and more time efficient for everyone.

2) Why does an E.D.L exist?

An E.D.L or Edit Decision List is basically what it sounds like; it is a list of the decided edits such as shots and cuts wanted for the final project. It is also to help if someone else was to continue on the project where you left off without any difficulty. It’s also a sort of backup for your projects which most professional software contain. If you decided to switch computers for whatever reason you will just have to load your decided shots with the E.D.L and the software will re-create it for you. This is such a helpful tool for when your computer crashes which is most likely to happen here or there, and you wont have to start from complete scratch.

Phase 3: “Delivery”

1) Why do we “colour grade” after picture lock?

We colour grade our projects after the picture lock rather than before because it makes the most sense to wait until everything is finished with the project, and we are satisfied with it so it wont need any further changes last minute. Also if we colour grade before the picture lock, then when we reconnect the high bandwidth files it won’t match up because we colour graded the lower quality proxies instead.

2) Why do we “sound design” after picture lock?

Just like colour grading it makes the most sense to wait until we have completed our picture lock so music and sound effects will be in sync.  If we did decide to add audio before the finished picture lock then we run the risk of having major problems with the sound and this can cause major frustration and be very time consuming.

Criteria: 1.1 & 1.2