Optimizing Edit Organization

Most of us hate organizing - yet we love it when things are in order. Here are some tips to keeping our love-hate relationship with organization within a Zen-like yin and yang harmony.

Organization is the key to a speedy, efficient and enjoyable edit. You know it, I know it. Every click, every drag of the mouse wastes time, and you certainly don't need to constantly waste your time and your client's money searching for a clip that should be at your fingertips. The time you waste hunting for footage is better spent tweaking and experimenting creatively. Proper labeling and placement of your material means you'll be able to retrieve it quicker. Knowing where a clip is at any given moment lets you achieve great speed and meet deadlines others will perceive as impossible. So let's dispense with every extra mouse click. Let's cut out the needless hunting. Let's minimize every repetitive gesture. Let's talk organization.

Establishing a Routine

I have three tips I want to impress upon you with this article that will make your postproduction life easier. The first, and most obvious is that you should be ordering every aspect of your business from the top down in a similar fashion. Ideally you want every project laid out identically, every type of material in the same place in every project, and every clip named and referenced in a like-minded fashion. This way, you can always draw on material from previous edits at a moment's notice, and will be able to recall exact tapes or clips even if you don't remember any of the specific information about it.

 We all know that every editing project has more attributes to it than just footage. This is where organization must start. Before I create a project in my edit system, I create a supporting folder on my desktop. I like to label it the same as the project name, with a "_files" extension at the end. Inside this folder is put everything from scripts to image files, budgets to backups. Anything relating to this project that does not come from a source tape is kept here. This way, if I ever need to recreate the project in the future, I need only copy that one folder back to my desktop.

Beyond the A to Z

The second trick is going to sound rather overboard at first, but stick with me. As you'll see later, when combined with the above it will come in handy over and over again.

 So we all know editing programs allow you to sort everything alphabetically. In fact, they do this by default. However, it is a convenient, but limited organizing philosophy and you should know how to circumvent it. Why should you have to scan through to the middle of your bins to find, say, your "media" bin if it's the one you open and close most often? But how can you move it without renaming it?

Your computer assigns a numerical value to each letter of the alphabet. When you ask it to sort, it simply looks for the lowest number and lists that item first. What you may not know is that the symbols on a keyboard all have values assigned to them as well. Further, some have lower values than the letter "A", and others have higher values than "Z". The tilde for example, (~) is a symbol I often use to make any entry jump to the bottom of an ordered list. It also has the added benefit of making the entry stand out from everything around it.

Be warned that your system will not allow every symbol to be used. The question mark for example is a reserved character on most platforms (used for searching) and you will likely not be allowed to use it in a bin, folder or project name. You should experiment to find the symbols that work for you.

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Ian James Smith
Best article I have read in some time, Peter and one of the most useful. I qualify as an 'ambitious amateur' I suppose, as I am engaged on an on-going documentary project I devised to keep myself employed in retirement (if that makes sense). Your methods would probably represent 'overkill' for my kind of 'operation'. While I endorse everything you say, in the interests of simplicity, I devote a 1tB hard-drive to each incoming project segment, typically, when finally edited, to be a 'module' which meshes in with those before and after. Only when everything is complete and data permitting re-constitution safely stored elsewhere in the computer, will I reformat the drive for another 'project'. By having a total of eight USB drives on-hand, I am able to leave a fair volume of work incomplete, awaiting further 'research' or whatever. All footage needed for the project segment, is stored, by name in its own special file. I have lately begun logging footage in on a 'professional' basis, previously I renamed copies with a unique code, which was a string of numbers/characters which, without breaks, told me the most essential things I wished to know about the clip(s) eg date, whether transfered directly from DV-AVI or copied to mpg2; the first four letters of the location where shot,(sometimes a bit ambiguous after multiple trips, I must agree), and a serial number. On the night of logging-in, (usually the evening of the day of shooting), I also add the information to a comprehensive (physical) index, arranged alphabetically, by location. For previewing and organising shots, I use the thumbnail facility of the 'TMPGEnc' Video-Mastering works, since later, when I wish to transcode the footage to mpg2 to fit better into my 'backup' system, I only have to reload the same information as a 'project' and carry on changing to 16:9 widescreen format etc, from the point the previous sitting left-off. Basically, I have the same setup as you have,'Music'; 'Commentary' (divided into as many sub-files as necessary); Graphics; Stills; Animations and so-on. One unique addition, is a comprehensive sub-directory labelled 'Music' because I compose and 'execute' my own, using techniques familiar to those in the music industry. Those files are similarly sub-divided and although they go down to individual wave-files for each instrument group, I usually set aside elsewhere in the computer a copy, (and back-up), for future re-constition purposes. In the case of music, the (usually) 'Symphonic' scores, eg the 'sheet-music' bits are always saved along with the video files, since in an emergency the entire 'performance' may be reconstituted from those files, (albeit with the disadvantage of 'having-to-do-it-all-again'), but it's surprising how it is sometimes 'better' the second-time, when you are fresh, and haven't been listening to the same sequences of notes for hours at a time. I have, as of this date, exactly 100 DVD's of DV-AVI I am editing my way through, to give an idea of the size of the operation, eg six years of 'spare-time' shooting in-the-field.
Ian James Smith
Oh, I forgot; your article is dated 'July 2011'. Oh hell! how did the month start without me?
nickskiver
It was a great help. I am going to try and do most of it.
PZunitch
Hi, sorry I didn't reply sooner. This one slipped by me for a bit. Nick, The trick is to find a method that works for you and stick with it. I'm sure not all of the things I wrote will work perfectly for you, but hopefully you will be able to modify them for your needs. The trick is to at least start THINKING in a organized manner, not just for the project your on, but globally. Ian, It sounds like you've given a lot of thought to your system, and that's important. Your comments extend even into organizing during production, which I didn't even get into. I'll have to look at the video mastering works for the thumbnail thing. I've recently been doing some experimenting with video databases, and this might be a good tool to use in conjunction with that.

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