Assistant Editor Series - Lesson 03

[@bobbykay485]

How would all this renaming and reorganizing affect workflow if you were working with proxies and need to relink to hires for export?

[@ZukunftBilden]

You edited for Bo Burnhams Inside speical - damn!

[@MoovyTimeProductions]

Does that mean the Timecode of the Day Master is not important after erasing the spaces between clips?

[@locke8826]

Hey Christian, Please correct me if I'm wrong, but doesn't Premieres merge clips brick the timecode/tape ID inside? I was looking into this option but avoided it as it would later become a nightmare for the online/colorist turnover. Thanks!

[@christianrushpostpro]

I've done several turnovers, in the past, using this method and it's been fine. However, that is only due to keeping an extremely clean timeline and putting extra time into the turnover to the mixer. That being said, I have always suggested to the editor (i'm no editor by any means, I just like doing the backend work) to work with multicams, even if it's a single cam clip. But often that is turned down due to their workstyle. The BEST way to do it is to use a proper piece of software like Express/On-set Dailies, or even Resolve. I'm working on a new tutorial series to go over all this and more, so keep an eye out :)

[@locke8826]

@@christianrushpostpro yeah, so my workflow is I transcode the proxies from the OCM myself in resolve (always assist using source file name enabled/identical tape ID etc.), which then depending on how the editors require the project, is synced to audio within the NLE of choice (avid/premiere). Usually, I just create a Daymaster with the proxies and synced audio but I haven't yet tried merging the clips as I am wary of supposed tape ID/timecode issues down the line (at least from what I've heard and read from other premiere users). For our current projects the editors actually prefer to just make selections directly from the Daymasters anyway, but I would love to figure out a cleaner solution (for example in Avid I would sync everything there, create subclips from everything and then create the Daymaster from the sub clips, this then allows the editors to match frame to the clip with the professional audio inside). But anyway thanks a lot for replying!

[@abrahamchen8627]

Learning to work in Premiere again for the first time. This is wild. I can't believe I am saying this since I started in Premiere when I was initially learning to make films but I prefer the Avid assisting workflow more 😂 . Exciting learning though and I appreciate you doing such an in depth series!

[@kooolkay]

Just to make your life easier. Instead of IN, DOWN, BACK ONE, OUT just hit "X". By default that will select the current range at playhead. Much faster :)

[@Amonitas8475]

Even faster, just hit W, it will instantly ripple delete from playhead

[@kirbypfilms1]

Thank's Chris this was so Helpful keep up the great work

[@misternils]

Great series man. Thanks.

[@ollend5818]

Hey Christian. Thank you so much for these! They're so helpful. Just wanted to see if there have been any significant changes to the workflow as far as SyncMaps and DayMasters go now that it's been 5 year since you made these. Thanks!

[@christianrushpostpro]

Hello! If you have a facility that uses these then no not really. There are some ways to speed up the process now. I am actually planning to come out with an updated in depth series soon. But feel free to email me at [e-mail] for specific questions in the mean time

[@danielfoerste]

This is such generous information - thank you!

[@kirstenpotts_]

Great tutorials, thank you very much. Quick question - did you not rename the broll clips at the end of your DayMaster timeline (before you re-organized it)? Is it typical to not name clips without any external audio attached or did you do that for tutorial speed purposes? Thanks in advance!!

[@christianrushpostpro]

i will typically rename the broll, either in the clip name, or in the "description" metadata. you can also add info in the scene column and such. this is a reality show so i might add "kitchen" or "bathroom A" to the columns/clip name.

[@roughlives]

Great tutorials. thanks. I'd love to see how the editor takes over from here in the next one ;)

[@josephcampbell8265]

Thanks a lot, very helpful.

[@SonnyEstufaShieh]

WOAH thanks!

[@SergeantZombie]

Hi again, I hope you’re doing well, what is the point of preserving the timecodes if we’re deleting the gaps anyways? If i use markers to highlight the selects and optional takes for the editor, should i prioritize keeping those timecodes or should i just delete the gaps so its a little cleaner when put on their main timeline? I have essentially taken each camera angle with all the respective takes, and put them into their own sequence without deleting much other than trimming edges, but i am not sure if its better to leave the gaps or not.

[@christianrushpostpro]

timecodes get preserved before closing the gaps for 2 reasons 1: in a reality TV setting, it's good to have the timecodes setup so that you can tell what was shot during which part of the day. director/producer can come in with the super annoying saying of "i remember we did this one shot in the morning around 9am" - then you just go to the 09:00:00:00 area on your sync map. this doesn't happen often but it's helpful nonetheless in my opinion. 2: when you are doing burn ins for sound turnover/picture turnover, you 100% want to preserve the timecode for those burn ins. you wouldn't have to have everything starting at 00:00:00:00 across the board.