Workflow-publish: adapt new chapter to Asciidoc
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@ -178,106 +178,122 @@ which different NLE's handle this and will propose possible directions for Lumie
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certain workflows.
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Project creation
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~~~~~~~~~~~~~~~~
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When starting a new project, a user often needs to set the project resolution and framerate. Adobe
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Premiere (optionally) shows an import panel immediately after this. The first time you drop a clip
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on a timeline, Resolve and Premiere will ask if you want to change your project settings to match
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the clip settings, when these are different.
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Premiere''s import panel
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[red]#TODO: Image#
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Premiere's import panel
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Projects themselves exist within an application's database (Resolve), or as a file/folder on local or
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shared storage (Avid, Premiere, Lightworks, FCP).
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One of the first things that needs to be setup is the organisational structure of the project, in other
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words: the structure that's going to house all of the project's contents. Most applications use bins for
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this, a bin being simply a container for items like video clips. In a sense they are similar to folders
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on a computer''s storage, except bins usually only exist within the project in your NLE. Avid's bins
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on a computer's storage, except bins usually only exist within the project in your NLE. Avid's bins
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also exist as folders on local or shared storage, but this is an exception.
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For top level organisation, bins can either be placed in other bins (Premiere, Resolve) or in
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groups/folders (Avid, Lightworks).
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As we'll see throughout this document, Final Cut Pro is usually the only application that takes a
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different approach. Projects are called 'libraries' and FCP sorts footage based on events (top level
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different approach. Projects are called ``libraries'' and FCP sorts footage based on events (top level
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containers of timelines, footage and keyword collections), keywords (tags) and collections, instead
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of bins (timelines are confusingly called 'projects'). Footage, when imported, is placed in an event
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of bins (timelines are confusingly called ``projects''). Footage, when imported, is placed in an event
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and from there all emphasis is on the metadata, in how you rate and tag (parts of) the footage. This
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also serves as a replacement of the subclips feature found in other NLE's.
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Final Cut Pro''s Keywords dialog. ``Travel part 1'' and ``Travel part 2'' on the left are events.
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[red]#TODO: Image#
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Final Cut Pro's Keywords dialog. ``Travel part 1'' and ``Travel part 2'' on the left are events.
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In any case, when working in a professional environment, you will probably want to start with a
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template that defines your top level structure, instead of having to recreate your entire bin setup for
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every project. Surprisingly, at the time of writing only Adobe Premiere has introduced a project
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template feature (in version 2024). In other apps you will need to manually create your own
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template project and duplicate that, or even literally copy and paste bins from a template project in a
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file browser (Avid).
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template that defines your top level structure, instead of having to recreate your entire bin setup
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for every project. Surprisingly, at the time of writing only Adobe Premiere has introduced a project
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template feature (in version 2024). In other apps you will need to manually create your own template project
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and duplicate that, or even literally copy and paste bins from a template project in a file browser (Avid).
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Importing footage
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~~~~~~~~~~~~~~~~~
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Every application works with clips: virtual representations of (parts of) the video files that exist on
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your preferred type of storage. Getting footage into your project ('ingest') will create these clips in
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your preferred type of storage. Getting footage into your project (``ingest'') will create these clips in
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your project. Most apps will offer several options to do this:
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1. Creating links to the original video files, wherever these may reside (on your computer,
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. Creating links to the original video files, wherever these may reside (on your computer,
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external storage, network storage or in the cloud).
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2. Copying your files to a dedicated folder managed by the application (this could again be on
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. Copying your files to a dedicated folder managed by the application (this could again be on
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local or network storage). Importing to a dedicated application folder is very useful for
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feature film editing and TV production, but is less common elsewhere in the media industry.
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Its strong point is that when your media is managed by the application, you won't have to
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relink files when moving to a different editing station.
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3. Optionally, files can be transcoded during import. New media files will be created in either
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re-link files when moving to a different editing station.
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. Optionally, files can be transcoded during import. New media files will be created in either
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the app's dedicated folder or to a user specified location. The transcoded files will be much
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more optimised for editing, resulting in better playback performance. This is part of a socalled offline-online workflow, in which you work on optimised files, and once an edit is
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finished (picture lock), the clips on the timeline will be exchanged with clips that link to the
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original camera files. Often, after color grading in an external application, all color graded
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shots are rendered with their color corrections and placed back onto the timeline in the NLE.
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A specific type of offline-online workflow is the proxy workflow. The proxy workflow
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allows on-the-fly switching between the proxy files and the original camera files and will
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ensure that exports of your video will use these original camera files when rendering. When
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using a proxy workflow you can either create optimised files inside the application itself (or
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more optimised for editing, resulting in better playback performance.
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in Premiere''s case, via Adobe Media Encoder) or attach existing proxy files that were
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created by a third party application or by the camera during recording.
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After importing and possibly creating/attaching proxies, clip attributes might need altering. You
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might need to change incorrectly determined frame rates or, more commonly, change the audio
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The latter is part of what is known as the *offline-online* workflow, in which you work with
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optimised files, and once an edit is finished (``picture lock''), the clips on the timeline
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will be exchanged with clips that link to the original camera files. Often, after colour grading
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in an external application, all colour graded shots are rendered with their colour corrections
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and placed back onto the timeline in the NLE.
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A specific type of offline-online workflow is the *proxy workflow*, that allows switching
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on-the-fly between the proxy files and the original camera files and will ensure that exports
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of your video will use these original camera files when rendering. When using a proxy workflow,
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you can either create optimised files inside the application itself (or in Premiere's case, via
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Adobe Media Encoder) or attach existing proxy files that were created by a third party application
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or by the camera during recording.
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After importing media and possibly creating/attaching proxies, clip attributes might need altering.
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You might need to change incorrectly determined frame rates or, more commonly, change the audio
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channel mapping of your clips (e.g. setup clips with two audio channels as dual mono instead of
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stereo).
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Clip types
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^^^^^^^^^^
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We usually find the following types of clips in NLE's:
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* Source clips which represent media files (containing video and/or audio streams) to its full
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extent, and for other types of media (most notably still images) - these usually get a default
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Source clips:: they represent media files (containing video and/or audio streams) to its full
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extent, and for other types of media (most notably still images) -- these usually get a default
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duration upon import.
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* Subclips which represent a portion of a video or audio file.
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* Timeline clips: duplicates of source clips that only exist within a timeline. Properties of
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Subclips:: they represent a portion of a video or audio file.
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Timeline clips:: duplicates of source clips that only exist within a timeline. Properties of
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these clips can often be altered without altering the same properties of the source clip.
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* Compound clips/nested sequences: these are in fact (sub)timelines that can contain any
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Compound clips/nested sequences:: these are in fact (sub)timelines that can contain any
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number of tracks and clips.
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* Multicam clips (group clips in Avid), in which multiple clips are synchronized and
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combined into one. These clips contain clips with different camera angles (for video) or
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audio recordings for the same event.
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* Filler (Avid), FX clips (Lightworks) or Adjustment Clips (Premiere, Resolve) that can hold
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effects that are applied to all clips on lower tracks of a timeline, directly underneath.
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Multicam clips:: (group clips in Avid), these are compound clips, in which multiple clips are
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synchronised and combined into one. This compound contains clips with different camera angles
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(for video) or audio recordings for the same event.
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Filler (Avid), FX clips (Lightworks) or Adjustment Clips (Premiere, Resolve):: these special clips
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can hold effects that are applied to all clips on lower tracks of a timeline, directly underneath.
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Bin types
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Often there are two types of bins in which these clips sit, withrResolve having a third kind:
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1. 'Normal' bins.
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2. Search bins (Premiere) / filters (Lightworks) / smart bins (Resolve) / smart collections
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^^^^^^^^^
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Often there are two types of bins in which these clips sit
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. ``Normal'' bins.
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. Search bins (Premiere) / filters (Lightworks) / smart bins (Resolve) / smart collections
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(FCP): for these you setup certain rules based on clip names or metadata. All clips to which
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these rules apply are automatically added to these bins. This means that the same clip can
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simultaneously exist in a regular bin and a search bin, in contrast to normal bins, where each
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clip will only exist in a single bin and you'd have to duplicate this clip for it to be also
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placed in another bin (Lightworks being the exception here).
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Filter options in Lightworks
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[red]#TODO: Image#
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3. Power bins (Resolve): these are bins that are accessable by all projects.
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Filter options in Lightworks
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Resolve adds a third kind of bins, known as ``Power bins'': these are bins that are accessible by all projects.
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Bin views
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^^^^^^^^^
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Bins offer several views to see its contents. These include:
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* List View / Text View: all items in the bin are listed vertically. Multiple columns will show
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different kinds of metadata – the user can choose which fields are displayed and can
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different kinds of metadata -- the user can choose which fields are displayed and can
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rearrange their order.
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* Icon View (Premiere) / Frame View (Avid) / Thumbnail View (Resolve) / Tile View
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@ -292,9 +308,9 @@ View itself.
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a large field for entering comments. In Script View, the vertical order of clips can be
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rearranged, in contrast to Text View, which only supports automatic sorting.
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* Metadata View (Resolve): similar to Avid's Script View, except you can''t reorder clips.
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* Metadata View (Resolve): similar to Avid's Script View, except you can't reorder clips.
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* Filmstrip View (Final Cut Pro): similar to Icon View, but
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* Filmstrip View (Final Cut Pro): similar to Icon View, but [red]#TODO: missing text??#
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Avid is famous for allowing you to save your Text or Script View configuration as a preset that can
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be quickly recalled. Premiere allows this through its Metadata Display window, Final Cut Pro by
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@ -302,19 +318,23 @@ Control+left clicking any column header and Lightworks via the Columns > Presets
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methods are less straightforward than Avid's. Another neat feature that Avid has is a bin map: an
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overview of bin contents that can be toggled when in Frame View.
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Creating a custom view preset in Avid Media Composer, which can be selected from the dropdown menu in the top bar.
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[red]#TODO: Image#
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Creating a custom view preset in Avid Media Composer, which can be selected from the drop-down menu in the top bar.
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Note that all apps offer a search/filter box (or button) on top of each bin view. Final Cut Pro and
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Resolve allow skimming clips from the bin view, simply by hovering the mouse on top of the
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thumbnail and moving it from left to right.
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Organising footage
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~~~~~~~~~~~~~~~~~~
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Once your footage is represented by clips in bins, organisation can begin. Wildly different methods
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exist for this. In the simplest version you will just drop your footage in one or several bins and be
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done with it. In professional environments there are often strict bin structures and naming
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conventions, and additional methods for organising are being used:
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* First and foremost: with multi-camera shoots and/or when audio has been recorded
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* First and foremost: with multi-camera shoots and/or when audio has been recorded
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separately, now is the time to synchronise these. Create multicam clips and/or synchronise
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sound, either in the NLE itself, or in an external application. I personally create source reels
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first (see further down this list), export these to another application for syncing, import the
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@ -332,29 +352,32 @@ option to (automatically or manually) connect clips to lines in a script (Script
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* Sequence/timeline markers to mark points in time, or sections (so-called ranged or spanned
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markers; terminology is different per app).
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+
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[red]#TODO: Image#
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+
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Plenty of marker options in Adobe Premiere
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* Timeline clip notes (Avid): these can be added to a timeline clip, and will stay connected to
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this clip. You can''t trim them off and they will automatically move whenever a clip moves.
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this clip. You can't trim them off and they will automatically move whenever a clip moves.
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They can be burned into a render upon export. Premiere and Resolve offer clip markers
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instead – these are similar to sequence markers, but are attached to clips.
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instead -- these are similar to sequence markers, but are attached to clips.
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* Tagging or rating (parts of) clips (FCP and to a lesser extent Resolve). FCP's rating only
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goes as far as letting you mark clips or sections as ``favorite'' or reject clips entirely, but its
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keyword system (as described later in this chapter) is much more elaborate and useful.
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goes as far as letting you mark clips or sections as ``favourite'' or reject clips entirely,
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but its keyword system (as described later in this chapter) is much more elaborate and useful.
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Resolve has an option to add keywords, but its workflow is quite clunky when trying to
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apply this to a section within a clip.
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* Clip colors. Often there exist multiple levels at which a clip can get a color. Colors can be
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applied based on source clip (usually different colors for different media types), timeline
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clip, timeline track, offline footage, different framerates, and more. Avid has the most
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options in this field and lets you choose exactly which types of colors to display on the
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timeline. Manually set clip colors are a very useful organisational tool, e.g. to differentiate
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between camera''s, interviewed persons in a documentary or different locations.
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Avid has many options for choosing how clips are colored in the timeline
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* Clip colours. Often there exist multiple levels at which a clip can get a colour. Colours can be
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applied based on source clip (usually different colours for different media types), timeline
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clip, timeline track, offline footage, different framerates, and more. Avid has the most
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options in this field and lets you choose exactly which types of colours to display on the
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timeline. Manually set clip colours are a very useful organisational tool, e.g. to differentiate
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between several cameras, interviewed persons in a documentary or different locations.
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+
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[red]#TODO: Image#
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+
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Avid has many options for choosing how clips are coloured in the timeline
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* Flags (Resolve). Similar to markers, but these apply to entire (source) clips, while markers
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apply to a single point in time or a time range within a clip. Multiple flags can be added to
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@ -362,14 +385,17 @@ each source clip.
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* Reels: source footage is divided over one or multiple timelines to be able to quickly navigate
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many clips without having to load individual clips in the source viewer. These are called
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'source reels'. A special kind of source reel is a 'sync map', which contains all footage of a
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day of shooting from multiple cameras synced and layed out chronologically.
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``source reels''. A special kind of source reel is a ``sync map'', which contains all footage
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of a day of shooting from multiple cameras synced and laid out chronologically.
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FCP doesn't quite support source reels and instead offers continuous playback from the
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browser window. Resolve has a 'source tape' option that works in a similar way.
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browser window. Resolve has a ``source tape'' option that works in a similar way.
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Simple example of a source reel (top), converted to a sync map (bottom)
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[red]#TODO: Image#
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Simple example of a source reel (top), converted to a sync map (bottom)
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Viewing footage
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^^^^^^^^^^^^^^^
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Once basic organisation is in place, the editor can start watching and adding further notes/comments
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to narrow down large amounts of footage and seek out options of useful content for the edit. Most
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apps offer two types of monitors for video playback: source and record/program monitors. FCP has
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@ -377,77 +403,95 @@ only a single monitor that switches between these two functions. Some others (Av
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users the choice between single or multi viewer modes. Lightworks and Avid support an unlimited
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amount of floating viewers.
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You can open (and position) as many viewers as you like in Lightworks
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[red]#TODO: Image#
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You can open (and position) as many viewers as you like in Lightworks
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Viewers are usually coupled with timecode display and have a ton of settings.
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I won't go into details about these.
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Viewers are usually coupled with timecode display and have a ton of settings. I won't go into details
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about these.
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In most applications you can also watch your source footage from the bin when in Frame/Icon
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View. You''ll be able to use JKL shortcuts for playback, mark in and out points and add it to the
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View. You'll be able to use JKL shortcuts for playback, mark in and out points and add it to the
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timeline, similar as to when the clip is loaded in the source viewer. Final Cut Pro lets you click and
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drag in-out regions in the thumbnail.
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Selects
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^^^^^^^
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Time to create a selection of material to consider for the rough cut. One way to do this, as
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previously described, is by creating subclips or by tagging. Drop the subclips in a bin in Icon /
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Frame View and you have a good visual overview of selected shots. This is great for selecting Broll or for projects that require a very visual approach, f.e. trailers, music videos or aftermovies (not
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hoping to ever cut one of those again though, but that''s a different story ;).
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previously described, is by creating subclips or by tagging. Drop the subclips in a bin in
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Icon / Frame View and you have a good visual overview of selected shots. This is great for selecting
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B-roll material, or for projects that require a very visual approach, f.e. trailers, music videos
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or aftermovies (not hoping to ever cut one of those again though, but that's a different story 😉).
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Another way to select footage is to cut selections from source clips or source reels to one or more
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selects reels: these are timelines that hold your selections and are only used for that purpose. Selects
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reels can then be loaded again as if they were a source clip, in order for an another selection to be
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made. This is called reel-to-reel editing. Many apps allow seeing the source timeline, either in their
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made. This is called *reel-to-reel editing*. Many apps allow seeing the source timeline, either in their
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own panel (Premiere) or window (Lightworks), or by switching the timeline panel between a source
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and record mode (Avid, Resolve). A method known as ``pancake timeline editing'' works when an
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and record mode (Avid, Resolve). A method known as _pancake timeline editing_ works when an
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application supports viewing multiple timelines simultaneously. By stacking timelines above each
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other you can easily drag selections from one timeline to another. This is possible in Premiere,
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Lightworks and Resolve.
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Pancake timeline editing in Lightworks
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[red]#TODO: Image#
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Pancake timeline editing in Lightworks
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Reels can be further managed by using markers to describe certain points in time or sections, and
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these markers can be viewed as a list in their own panel. When selecting a marker in this panel, the
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playhead of the corresponding monitor will jump to the (start) frame of this marker. Markers can
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have multiple input fields and a color. They are one of the most important tools to be able to make
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have multiple input fields and a colour. They are one of the most important tools to be able to make
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notes and navigate large amounts of footage over extended periods of time. As an aside: Lightworks
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has an option to turn ranged markers into subclips, quite useful, as it allows you to use markers to
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make your selection.
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Some NLE's have a 'ripple markers' option for timeline markers. This means markers will move
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has an option to turn ranged markers into subclips, quite useful, as it allows you to use markers
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to make your selection.
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Some NLE's have a ``ripple markers'' option for timeline markers. This means markers will move
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when clips in the timeline are shortened or extended.
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FCP has ``todo markers'' that can be checked. And when tagging clips with keywords in FCP,
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keyword collections are automatically created in which all sections of clips with the same keyword
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can be found. It's also possible to manually create keyword collections and drag and drop clips or
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tagged sections ('content ranges') there.
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tagged sections (``content ranges'') there.
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Back to the reels: one advantage of reel-to-reel editing is that it's very useful to see the audio
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waveforms of your source clips on an actual timeline: this way you can freely zoom and scroll.
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Final Cut Pro will only display a clip''s waveform at the bottom of the clip preview in the browser,
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Final Cut Pro will only display a clip's waveform at the bottom of the clip preview in the browser,
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but when an interview is an hour or longer, this waveform will be squeezed in a way that's of little
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use.
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Another advantage of reel-to-reel editing is a sense of space: you get an idea of where certain
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footage can be found (more to the left, in the middle, or at the end of a reel). Combined with
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markers, clip colors and gaps between sections, this makes it easier to find things back later. A third
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advantage is that it's easy to filter in rounds: you can narrow down your footage in multiple reel-toreel selection passes.
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I personally often use a variation of reel-to-reel editing, in which I lift sections in my source reel. I
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then duplicate this reel, remove the first video and audio track(s) and keep the lifted parts to create
|
||||
my selects reel. The advantage here is that I can rate sections as ``not useful'' (V1), 'possibly useful'
|
||||
(V2), 'quite useful' (V3) or 'highly useful' (V4) by lifting the video clip one, two or three tracks up –
|
||||
see it as a 4-star rating system. I''ve seen other editors use this method for selecting footage,
|
||||
although in all fairness I''m not sure how widespread this technique is.
|
||||
markers, clip colours and gaps between sections, this makes it easier to find things back later. A third
|
||||
advantage is that it's easy to filter in rounds: you can narrow down your footage in multiple reel-to-reel
|
||||
selection passes.
|
||||
|
||||
Lifting selections; also note the use of clip colors, gaps and markers for organising the selects reel.
|
||||
I personally often use a variation of reel-to-reel editing, in which I lift sections in my source reel.
|
||||
I then duplicate this reel, remove the first video and audio track(s) and keep the lifted parts to create
|
||||
my selects reel. The advantage here is that I can rate sections as _not useful_ (V1), _possibly useful_
|
||||
(V2), _quite useful_ (V3) or _highly useful_ (V4) by lifting the video clip one, two or three tracks up --
|
||||
see it as a 4-star rating system. I have seen other editors use this method for selecting footage,
|
||||
although in all fairness I'm not sure how widespread this technique is.
|
||||
|
||||
[red]#TODO: Image#
|
||||
|
||||
Lifting selections; also note the use of clip colours, gaps and markers for organising the selects reel.
|
||||
|
||||
In FCP you can create your own rating system by using keywords (as shown in the screenshot at the
|
||||
start of this chapter) and then having everything filtered through keyword collections, as described
|
||||
in this blog post at Frame.io. Quite handy as well!
|
||||
in this https://blog.frame.io/2016/10/18/make-fcp-x-log-better-1/[blog post at Frame.io].
|
||||
Quite handy as well!
|
||||
|
||||
Proposals
|
||||
~~~~~~~~~
|
||||
* Which system(s) of organising a project and selecting footage should Lumiera support? I
|
||||
would say: most. They don't interfere with each other, so let the user choose. Definitely
|
||||
support source timelines and let people rate, tag and mark all they want. Subclips might not
|
||||
be necessary when a tagging/keyword system is present, as Final Cut has proven.
|
||||
|
||||
* Metadata-based organising, searching and filtering of content are must-haves.
|
||||
* Metadata-based organising, searching and filtering of content are _must-haves_.
|
||||
|
||||
* I would include a native rating system (1 to 5 stars should suffice) that works both on clip
|
||||
sections and entire clips, rather than FCP's favorite/reject system, as it's more granular.
|
||||
sections and entire clips, rather than FCP's favourite/reject system, as it's more granular.
|
||||
|
||||
* As for bins-in-bins vs bins-in-folders: the first one is more flexible (bins can contain both
|
||||
media files and other bins, while folders can only contain bins) and more closely resembles
|
||||
|
|
@ -457,8 +501,8 @@ something to be said for the strict division of function that folders+bins have.
|
|||
* I would like to propose an option to automatically create source reels based on rules you can
|
||||
set, for example: one source reel for every day of shooting. These automatic source reels
|
||||
could have a filter function to select which clips are being displayed on the timeline. This
|
||||
way it becomes easy to say something like "show me all clips from the second day of the
|
||||
shoot from camera A".
|
||||
way it becomes easy to say something like ``show me all clips from the second day of the
|
||||
shoot from camera A''.
|
||||
|
||||
* A versioning system for timelines is something that only Resolve has recently picked up
|
||||
with its Create (and Restore) Timeline Backup feature, and honestly I've been amazed by
|
||||
|
|
@ -479,9 +523,10 @@ local sound effect libraries.
|
|||
|
||||
* A small one: I'd like each project to remember the last location you imported from. I often
|
||||
switch between projects and each time I want to import something in current NLE's, the file
|
||||
dialog points to the last used directory, which is often the wrong one.
|
||||
Not a big deal, but not ideal either.
|
||||
|
||||
|
||||
dialog points to the last used directory, which is often the wrong one. Not a big deal, but not
|
||||
ideal either.
|
||||
|
||||
Chapter 2: the timeline
|
||||
-----------------------
|
||||
|
|
|
|||
Loading…
Reference in a new issue