Timeline: Archiving Bliss (page 2)

One little trick you may want to try is to name every file associated with the project, starting with your short project name. For example, SVF_StillCaptainSimpson.jpg might be the name of the scanned still photo of the captain and SVF_TearJerkerSong.wav is one of your original songs. This way, if you have misplaced a file somewhere in the dark depths of your main hard drive, it is easy to find by searching for SVF_, even if you forgot what you called the file itself.

The main idea now is to save all of your assets to one or two places. Your well-labeled source tapes become the archive place for your originally-shot media. As this is over 100GB, it is not really feasible to back these up to optical media like a blank 4.7GB DVD disc (this may change if we ever see that 300GB holographic technology come our way).

All other assets - a copy of the finished work, your project files, still photos, music and paperwork - should fit on a blank DVD. Wait, we forgot our render files. The folder holding your render files can get quite large. Plus, using your project file, you can rebuild your render files with the click of a button, so we don't usually save these. Write with permanent marker on the burned disc the same name you have on the spine of your source tapes. Then add the finished date and any other information that will help you remember this project ten years into the future (who you made it for, what camera you used to shoot, the total running time of the finished product, etc.). Rubber band it together with the source tapes, put it in your fireproof file safe in your closet (not a bad idea, eh?) and reformat your hard drive for the next gig. Your entire project is safely archived.

Many of the editors here at Videomaker have been in the industry a long time and have many old projects to prove it. Without good archiving, our precious projects would just sit in the garage, awaiting our heirs to toss them in the rubbish. Proper archiving has been a learn-as-we-go process, but for you, our faithful readers, it does not have to be. Follow these techniques, and many years down the line, when you need to reconstitute a project, you will have all the parts to rework your masterpiece.

Contributing editor Morgan Paar is a nomadic producer, shooter and editor, making documentaries worldwide.

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