Low Budget Indie Film Post Production Workflow

Share storage is of course one of the most important pieces of hardware for the editorial team, as we mentioned above. The major advantage of online review and approval tools like is that they allow both distributed and asynchronous feedback. The process is still fairly standardized among different types of projects, though some phases will be much condensed. Some NLEs prefer to apply the LUTs at the clip level, while others prefer to apply them at the timeline level. Either is usually possible, but it’s important to choose one approach. In that case, it’s more common to skip the offline edit because you lose some of the benefits.

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  • Both can affect the artististry in your project, so it’s important to create your files audio tracks properly.
  • AAFs can contain both video and audio information, but they are especially common when sending projects to the sound department.
  • Selecting your editing application can make your workflow run smoothly or cost you months and tons of cash.
  • ADR, of course, makes up the majority of “filming” in animated films.
  • While any editing software can apply a LUT to footage, it requires some extra organizational overhead, and it may slow down the editing machine a bit as well.
  • Put your best foot forward and invest some creative energy to grab your audience from the very beginning.

So, recording in log still adds some complexity to the workflow. You have to find the right LUT for your footage, and you also need to manage your LUTs throughout the whole post-production process. High-quality codecs tend to be higher bit-rate, which means that the files are larger. You need to be prepared to store and back up all of those files as you’re shooting. You may also have to upgrade your memory cards in order to be able to record the high-bitrate data. The filmmaking process begins long before the cameras start rolling, but that is where our journey starts, as we chart the factors and decisions that you will need to make throughout the post-production process.

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In this stage, the cast is chosen, sets and costumes are created and the crew members are lined up. Preps and rehearsal also happen during pre-production to make sure everything will happen smoothly in the next stage. The budget estimation also might get changed a bit during pre-production to be more precise. Unlike the director, the production manager supervises the physical aspects of the production instead of the creative side.

A lot of times, post-production companies have saved the day for their clients who have spent lots of dollars in shooting the video. Many times, the video does not come out the way it was intended so post-production stage offers a saving grace. However, when planned well, the post-production truly enhances and not just saves your video. A good post-production agency will share the rough cut with its clients, get feedback and notes. Sharing the early cuts saves everyone a lot of precious time later. There’s an array of options available when it comes to editing software, such as AVID, Adobe Premiere, Final Cut Pro.

There are many special effects like green screen, compositing – the layering of multiple effects or muzzle flashes. You can also stabilize shaky clips, clean up unwanted noise or artifacts in the video, and add motion graphics or animation for a unique or specific look to your film. It is the act of assembling clips and putting the raw footage in a coherent order to tell the desired story. Firstly, you need to go through the footage to find the best takes. Once you’ve picked the best takes, you then cut the video clips in accordance with the script and storyboard that pulls focus to your core messages. The sound editor will perform some major tasks like he will cut the dialogue tracks and recreate those sound effects and then make the cue sheet for another step in the post-production process i.e. the mix.

Scoring Or Securing Music

Be sure to provide a copy of the rough cut to the VFX vendors to help with context – that way they can see how their sequence fits into the shots. Working across departments and different teams, proper file naming and metadata tagging continues to come into play here. The editor will identify the original camera file for those shots, since the VFX team needs full resolution to get the best end video.

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Transfer Media From Cameras To External Hard Drives

This process often involves viewing every clip, labeling appropriately and making notations about the quality of each clip. The camera logs come in handy at this point as a reference tool. The editor should make their own notes about each shot, regardless of the notes in the camera log. The workflow through post production; ingesting and logging, rough cut, fine cut, titling, picture lock, sound track. When the audio house makes their Final Mix using a DAW (a Digital Audio Workstation like Pro-Tools) – they almost never have good quality picture – they need a locked cut – not a high quality cut.

Project Organization Logging

If the editor wants to find a particular close-up of Bob from Scene 14, they can look in the Scene 14 bin, or they can look through the stringout sequence. Alternatively, it’s common to leave the files in exactly the same folder structure in which they arrived but organize them differently inside the NLE. When the files that you capture happen to be well-suited to editing.

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