![]() A stringout is a sequence of selected footage. Doing so hides everything else and reveals only the matching set of media on a per-bin basis. It is easy to sift a bin by specific data in certain columns. Media Composer includes a custom sift feature, which is a filtering solution within the bin. Likewise with Media Composer and Premiere Pro, you can show and hide clips and also sort by custom column criteria. By selecting what to see and to hide, it’s easy to cull a mass of footage into the few, best options. Final Cut Pro X has a sophisticated method of assigning “favorites” and “rejects” to clips and ranges within clips. Learning how to use these controls will help you speed up the organization of the media. Each NLE has its own way of displaying or hiding clips and subclips. Media Browser within Premiere Pro should be used to access sequences from within other project files and import them into a new project. Then a master project can be created to import the final version of each reel’s timeline to create the combined film timeline. When a film is broken into one reel per project, it becomes easy for editors and assistants to work collaboratively. ![]() With Premiere you can only have a single project file open at one time. Since FCPX editors can open multiple libraries, it’s possible to work across reels this way or to have different editors open and work on different libraries independent of each other. In Final Cut Pro X, the library file is the basic data file/container, so each reel would be in its own library with a separate master library that contains only the final edited sequence for each of the reels. You cannot share the exact same FCPX library or Premiere Pro project file between two editors at one time. Final Cut Pro X and Premiere Pro CC don’t work this way. This facilitates collaboration among editors and assistants using different systems, but still accessing the same project file. Therefore, each film reel would be a separate timeline, quite possibly placed into a separate bin. With Media Composer, the root data file is the bin. This is an old-school approach that goes back to the film day, yet, it’s still a good way to work in the modern digital era. ![]() Typically a feature will have five or six reels that make up the entire film. Most films are broken down into 20 minute “reels”. Higher sampling rates and bit-depths are OK if your NLE can handle them, but they should be multiples of these values.īreak up your project files by reel. aif formats with 48kHz sampling and 16-bit or 24-bit bit-depth. Before you start working with audio in your project, transcode it to. Even though your NLE may work with this just fine, it can cause problems with sync and during audio post later. It’s quite common to get VO and temp music as MP3 files with 44.1kHz sampling. Most NLEs can deal with a mix of audio formats, bit depths and sample rates, but that doesn’t mean you should. In addition to working with common media formats, it’s a good practice to get all of your audio into a proper format. Cut with these and then flip to the master quality files when it comes time to finish. If you have really large files, like 4K camera media, you might also transcode editing proxies. It’s best to create a common master format for all the media in your project. Camera formats vary in how files are named, what the playback load is on the computer, and so on. While editing with native media straight from the camera is all the rage in the NLE world, it’s the worst way to work on long-term projects. This post will go through a “baker’s dozen” set of tips and techniques that hopefully will help your next, large project go just a bit more smoothly. If you follow my editor interviews or those at Steve Hullfish’s Art of the Cut series, then you know that most of the top editors are more than willing to share how they do things. Editing is a craft that each editor approaches with similarities and differences in style and technique.
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