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5. PLAN YOUR MEDIA MANAGEMENT You’ll waste less edit time searching for shots if you’ve planned how you want your media organised early on. Do you want all the footage shot by a speciﬁc crew to be stored in a single bin or would you prefer to organise your media by shoot location? Make sure the crew knows what metadata you need and what naming conventions to follow and that the data wrangler and facility know how you want your ﬁles organised. 6. DELAY THE WRAP PARTY Review your footage as soon as possible – ideally before you wrap. Not only will you be better prepared for post if you’re familiar with your footage, but the earlier any issues are identiﬁed, the easier it is to solve them. It’s cheaper to run into overtime on a shoot than it is to book a reshoot. 7. REDUCE THE TIME SPENT SEARCHING The more information you can bring into edit, the better. Logging your footage before the edit means that you’ll be able to search for key words and ﬁnd speciﬁc shots in seconds – a crucial step for high-shoot-ratio productions. Smaller productions can get away with basic clip tagging or even paper based logs. 8. START EDITING BEFORE YOU GET TO THE SUITE Take advantage of cloud-based services like Forscene to start selecting shots and creating rough cuts before you get into the edit, or to collaborate with your post-production team while working remotely. 9. REVIEW THE WAY YOU DO REVIEWS Reviewing edits in the edit suite is expensive and almost impossible to co-ordinate. Making review copies of your edit available online lets clients, execs and broadcasters give input without leaving their desks and saves valuable edit time. But even remote reviews need to be scheduled so that your editor isn’t left twiddling their thumbs while you wait for feedback. 10. DON’T MAKE AUDIO AN AFTERTHOUGHT Sound makes a huge difference to your ﬁnal programme and needs the same consideration and preparation as the visual elements. If you’re cutting to music, spend time before the edit choosing the tracks (or similar references) so that the editor can cut to the pace and style of the piece. Make sure you record and log atmospherics and other audio elements so that they can be found and used in the edit, and brought to life in ﬁnal mix. It could be the difference that turns your shoulder peak ob doc into an RTS nomination. Max is European Sales Manager for Forscene with 19 years of experience in television production, post and facility management. As part of the Discovery EMEA programming team he has worked on some of the most memorable factual content to come out of the UK and US, including shows like “Raising the Mammoth”, “Deadliest Catch” and “American Chopper.” Over the last four years he managed two of the U.K.’s largest post- production facilities; Clear Cut Pictures and Crow TV. +44 1293 541 200 www.videosys.tv firstname.lastname@example.org Leading Mini Camera and RF specialists World class camera control products for Sony, Grass Valley, Hitachi, Ikegami and Panasonic cameras with MSU control, ethernet and bi directional data options Bespoke mini camera design and manufacture, building products exactly to your requirements Wireless camera consultants and distributors of Domo Tactical Communications (formerly Cobham TCS) equipment HD Minicam with COFDM Transmitter built inside Camera Control - Helmet cameras - Onboard cameras - Ref Cam - Drone Links ENG RF - Live Sports - Bespoke Build - Multi Camera RF - Long Range Links HD Minicam with colour control and phantom power built in “Designed from experience, built with passion” KITPLUS - THE TV-BAY MAGAZINE: ISSUE 114 JUNE 2016 | 53