Post-production workflow step-by-step

As you may have noticed, we've been trying to figure out our post-production workflow for the past couple months while we've been dealing with the hard drive failures.

I'm happy to report that both problems have been resolved. We now have plenty of working drives (all 4TB multi-drive monsters) with multiple back-ups of all the raw footage. You can imagine how stressful it was to see our redundancy whither as the failed drives stacked up.

And now, thanks to Dane, Jesse, Sharon and Alex, we have a post-production workflow that makes sense for the project. Honestly, the post-production process for a complex film like In-World War has been somewhat of a mystery to me and only through their help have we been able to move forward.

Remember, we shot on four different cameras (RED ONE, Sony EX1, Sony EX3 and Canon 5D), and besides the usual post-production deliverables (editing, sound mix, conforming, coloring, etc.), we have VFX to worry about too.

If you're interested in such things, here's our post-production plan (as I understand it...I'm just the director after all):

Format: We've decided that since nearly all of the film was shot at 23.98fps, that's what we'll be using for the final deliverable. Furthermore, we'll offline at 1080p, knowing that there's a better than 99% chance that HDCAM SR is the best we'll need (HDCAM SR is 1080p).

However, we will maintain all the links to the original media, so we if we do decide to output to 2k resolution for high-end digital projection, we have that option. Since that's only likely if we do a formal (and expensive) theatrical delivery, we don't expect to need to worry about that (since traditional indie distribution for films like ours is basically dead). But we're ready, in case it happens.

One vital rule is that we will not move or rename any of the original files and even once in Final Cut, we'll use the filenames for the names of clips. We absolutely want to ensure that we maintain the links between what we're editing and the original source files within Final Cut. In order to ensure this, we will be making back-ups only via complete and identical cloning via Super Duper or Carbon Copy Cloner.

Our step-by-step post-production workflow:

1. Do a conform test: Import digital media via the Final Cut Pro Log and Transfer tool and then open the project with Final Cut Studio's Color program to make sure we can reference the original R3D files to maintain the link across the workflow.
2. Do a timeline test: Transfer sample footage from each camera to ProResHQ and make sure all the different types of footage can go into a single timeline. We shot on four cameras and that's one of the major issues we're dealing with. 80% of the footage is 4k RED at 23.98. That will move to ProResHQ without a problem. The EX 1 and EX 3 footage was all at 23.98 (we thought that some or all was at 25, since they were European cameras), so that will go in fine too. The Canon 5D footage is at 30fps, but we'll just change that down the line and not now.
3. Convert everything to ProResHQ in its native format. 
4. The director watches all the footage and makes notes for the editor.
5. The clips get organized by the asst. editor: put into separate bins for each scene.
6. The editor creates an assembly edit (with feedback from director).
7. VFX design work can start: sketches, storyboards, even basic modeling and animatics if needed. Detail work and full rendering won't start until we have a fine cut.
8. We film additional pick-ups for shots we missed or messed up.
9. These new shots are added to create the rough cut.
10. Finalize any zooming and panning within the RED footage (since the RED was shot at 4k resolution, we have room to move around in each frame given that we don't expect to output better than 2k).
11. Finalize the fine cut of the edit.
12. Visual FX work is done (based on the fine cut).
13. Sound design and mixing is done (based on fine cut + FX)
14. Conform! Put all the elements together at the correct 23.98 fps.
15. Color correct the entire film, with the elements in place (usually happens at the same time and place that the conform is done).
16. Very minor tweaks to the edit (nips and tucks basically) based on having all the elements together.
17. Picture is locked.
18. Project it in a high quality reference room as a quality control check. Make sure it looks and sounds great.
19. Throw a party. Drink a lot. Act obnoxious. Wake up feeling ill. Success!

That's the outlines of the plan. Naturally there are some major parts that are complex projects unto themselves (editing, VFX, sound, etc.). Now you understand why we need at least a year to get it all done since we don't have the funds to rush it.

Special thanks to Dane for stepping up as our post-producer and overseeing the process, including manually converting to ProResHQ. Kudos to Jesse for holding the line on a rigorous linear process to save us money (we can't exactly spend our way out of screw-ups).

And thanks to everyone who donated this holiday season. It's not too late to get that tax break for 2009 by making a tax-deductible donation to In-World War and getting your name in the credits!

For more thoughts on post-production planning, see the related post to this one on my other blog, DIY Filmmaking Sucks:

Post-production workflow for indie films