I asked Lorene and Millie for a cut of the film as it stood so far.
I knew they were working on colour grading, but if the film needs the sound done sooner rather than later for the 1st cut, I needed to start before they finished colour grading.
I, therefore, asked Lorene for a full cut of the film as it was so far.
I asked what a “10 bit one” was. I then told her the stills would probably work, as it seems like it was causing her difficulties to sent them a render of the whole film.
This, as I learned later, was a mistake on my part.
She sent me a list of the shots:
so I made corresponding folders ready to receive the stills and dump the relevant sound files in the folder. It was labour intensive – for no real reason, and that labour could have been saved. That was a little frustrating.
As well, the stills were in DNG format! Large and unfriendly. I could turn them into jpegs, but that’s incredibly labour intensive.
The stills turned out to be a little useful, but only really for reference as to whether the sound was for the right shot, which it should have been, but as stills, they were not hugely useful even for this simple task.
I could not get to work.
This is why ‘Data Wrangler’ is a job, to separate the grunt simple file processing with the actual creative process of editing and mastering files.
What I learnt from this:
- A well worked timeline at the beginning for how long each job takes and who needs what when would have avoided these complications. Working more efficiently would allow for more time on the actual editing rather than working hard on very little behind the scenes.