Turnover

Please provide all assets by 4pm the day prior to your session at the latest. Missing or incomplete prep resulting in additional conform time may result in hourly billing.

For uploading assets, I recommend using either MASV or Frame.io.

Please use only one of the prep methods below. If you’re unsure which to use or have any questions regarding the prep sheet, please feel free to email or call me!

ProRes 4444 Workflow

  • Collapse your timeline onto one video track.

    • If you can’t, please put any additional clips at the end of the timeline.

  • Remove all graphics, titles, fades and dissolves, making sure to leave long enough handles for cross fades (A side and B side). These extended clips can also be put at the end of the timeline.

  • Reconnect all footage to your original raw camera footage (no proxies or transcodes). Keep positioning and scale transformations in place. If you’ve shot on RED, please see below for specific clip settings.

  • Export your timeline as a ProRes 4444 .MOV, at whatever resolution you want your final colored footage returned as. Please export at maximum render quality and maximum bit depth.

  • Export a single-layer EDL of your timeline and include it with your .MOV.

  • Please also include a reference .mp4 of your original edit with Rec709 or dailies color.

  • If you’ve shot on RED, go into source settings and match to the settings here.

Raw Workflow

  • Consolidate your original raw media onto as few drives as possible. If you’re uploading raw media, please media manage your timeline so that you’re only sending trimmed, used media.

  • Simplify and collapse your timeline onto as few video tracks as possible.

    • Commit any multicam clips and un-nest any nested sequences.

    • Remove all titles and graphics

    • Removed any unused clips

    • Remove any effects

    • Remove any non-linear keyframes or non-linear time remaps

    • Remove all audio tracks (you can replace with the exported audio from the reference export)

  • Include an XML (or AAF if working in Avid), as well as the project file on the drive with only the prep sequence included.

  • Transfer Reference Video: Print a ProRes proxy export of your edit sequence with the following overlays:

    • Record Timecode

    • Source Timecode

    • Source Name

  • This reference should match the sequence that’s been prepped for color. You can also provide a separate reference for the original offline edit if you want to reference the full edit with time remaps, graphics, etc. during the session.