Instructor: Dawn Rider
This is a seminar with a ½ hour break
Session: 10:00AM – 2:00 PM
Refundable Deposit Fee: $40.00
This seminar is open for 35 active members who already have some experience working in post-production. We will be referencing an Avid Project, so some knowledge of Avid will be helpful too.
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COURSE DESCRIPTION
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This lecture will be an overview of scripted television workflow for assistant editors with an emphasis on the aspects that are different than documentary or reality.
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OUTLINE
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Session 1: 10:00 AM
I. Intro & short summary of experience. How I transitioned into scripted and the interview process.
II. The Post Production Department: Organization of Personel
A. Edit Teams: ideally one assistant per editor. Your editor is your direct superior.
B. Post Production Office: parallel department consisting of PA, coordinator, supervisor, and post producer (the department head)
C. Music, VFX, Sound, and Online editors
III.
The Post Production Schedule: Overview
A. 17-30 days
B. Production Meeting: usually the first time the assistant editor is involved in an episode
C. Shoot Days / Dailies
D. Editor’s Cut: 4 days
E. Director’s Cut: 5 days
F. Producers’ Cut
G. Network Cut
H. Lock and Turnover
I. Post Turnover work: VFX, credits, checking conform, music cue review, etc
J. Wrap episode, back up
IV.
Setting up the ISIS [SCREENSHOTS]
A. Storage size
B. Partitions and who has read/write access
C. Maintaining: Render partition, large partitions, etc
V.
Setting up the Avid Project [USE AVID PROJECTED]
A. Organization techniques
B. Consistency
C. Which folders are unique to each project, which are the same on every system, and which get updated with each episode
Lunch Break: 12:00 – 12:25 PM
Session 2: 12:30 PM
VI.
Dailes [USE AVID PROJECTED AND EXAMPLES OF PAPERWORK]
A. Lab Processed overnight
B. Archive and organize digital files: sound files, paperwork, etc
C. Paperwork archive & organization.
1. How to read lined script, timing sheet, etc. examples for all
2. Editors and Assistants Binders
D. Prep dailies footage for editor
1. This is by editor preference, but we will go over techniques
2. Naming conventions and consistency
3. Anticipate other stock footage, music, SFX needs
4.Look out for problems
E. Compare paperwork to dailies and make sure everything is in the bins. What to do if it seems like footage is missing
F. If you finish all tasks, cut something
VII.
Cut/Output Stages
A. Importance of labeling
B. Keeping track of notes
C. Continuity [SHOW EXAMPLE]
VIII.
Lock & Turnover
A. Examples of paperwork, check sheet
B. Naming and consistency
IX.
Post Turnover Work
A. Music Cue review, VFX, ADR, credits, promo pulls, etc
B. Unlocking and 2nd turnovers
X.
Episode Wrap
A. Backing up media
B. Archiving all files and paperwork
Q&A: 1:30 – 2:00 PM
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BIO
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Dawn Rider attended SUNY Purchase Conservatory of Film and began her career in post production as an edit intern with Maysles Films. Over the last 10 years, she worked on a variety of documentary films and television series as an assistant editor, post production supervisor, and editor, including Academy Award nominee Which Way Home, Emmy nominee Death and the Civil War by Ric Burns, and Peabody winner Brick City. Most recently, she has worked on CBS’ popular series, Blue Bloods, as an assistant editor.
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RSVP
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Please e-mail mhassan@editorsguild.com to RSVP
Note: No walk-ins and no guests will be permitted. You will receive a confirmation, once you are registered. No phone call RSVPs will be accepted.