Question about a slate is used in editing.

[harmonica44]

I have noticed from working on other people's productions that the slate says ROLL, SCENE, and TAKE on it. However, it does not say SHOT. Roll I am guessing is referring to if you are shooting on film or not, right? As in what role of film you are using?

However, a scene has more than one shot in it, so when I am looking through takes, in editing, how do I know what shot, a take is in? How do I know if it's take 1 from a close up, as oppose to take 1 from a master shot? It could be take 1 from any shot that was used, but since there is no SHOT written on the slate, how do you know? Why do slates not have a spot to write the shot down? Shouldn't the slate say if it's a master, close up, high angle jib shot, etc?

 

[gpforet]

Your shot log will tell you. Since each shot get a letter after the scene number, it'll be identified that way in the log. And face it, you have to look at every shot anyway (unless the log describes it as unusable, and even then I'd take a look so see if there's anything I can use). We use roll to identify which card was used, treating storage cards they way you would treat a roll of film. After dumping and making a backup, the card gets a new number before being cleared and going back in the camera.

Also, even though I've put together a shot list, and sometimes storyboards before the shoot, once I've got everything stacked in the timeline, I may well change my mind about which angle or shot I'm going to use in the cut. The only thing I throw out is takes that are completely unusable, and even then, I can often save a second or that just might be the second or two I need to make the magic. I've also often used stuff that happens before the slate is put in the frame and called while the actor is settling. I've gotten some pretty intensive stuff there.

Log your shots, and look at everything.

I have noticed from working on other people's productions that the slate says ROLL, SCENE, and TAKE on it. However, it does not say SHOT. Roll I am guessing is referring to if you are shooting on film or not, right? As in what role of film you are using?

However, a scene has more than one shot in it, so when I am looking through takes, in editing, how do I know what shot, a take is in? How do I know if it's take 1 from a close up, as oppose to take 1 from a master shot? It could be take 1 from any shot that was used, but since there is no SHOT written on the slate, how do you know? Why do slates not have a spot to write the shot down? Shouldn't the slate say if it's a master, close up, high angle jib shot, etc?

 

[harmonica44]

Okay thanks. So when I am shooting a movie, I should say write down take 1, take 2, and not re-start the take count, if I move the camera to a different shot. I should still continue the count where you leave off, no matter what shot it is, or no matter who's take it is, based on the actor in front of the camera?

 

[gpforet]

Here's how I do it:

Scene 1 Master

Slate reads: Scene: 1, Take 1 (thru as many as needed)

Log reads: Scene 1: Master Wide, take 1 (thru as many as needed) and notes from the director, roll X,INT/EXT, MOS, DAY/NIGHT

Scene 1 Medium wide two shot

Slate reads: Scene 1A, Take 1 (thru as many as needed)

Log reads: Scene 1A medium two shot, take 1 (thru as many as needed) and notes from the director, roll X, INT/ EXT, MOS, DAY/NIGHT

Scene 1 Bob OTS

Slate reads: Scene 1B, Take 1 (thru as many as needed)

Take: 1 (thru as many as are needed)

Log reads: Scene 1B Bob OTS, Take 1 (thru as many as needed) and any notes that come from the director, roll X, INT/EXT, MOS, DAY/NIGHT

Scene 1 Sue OTS

Slate reads: Scene 1C, Take 1 (thru as many as needed)

Log reads: Scene 1C Sue OTS, take 1 (thru x), roll x, INT/EXT, MOS, DAY/NIGHT

Takes reset to 1 with each scene number/letter change so Scene 1, Scene 1A, Scene 1B, and Scene 1C will all have at least a take 1.

Note: The log will also capture lens used, focal length, the color temperature of the camera, the ISO, and the F (or T) stop for each take as well as any other notes for each take which would help the editor understand what the conditions were when shooting. It will also help you when editing you seen which camera choices worked and which ones didn't. On most low budget films I worked, the scriptie keeps the log, but I've also seen the 2nd AD do it. This person works closely with the clapper/loader to ensure that slate and log match on each shot.

The log is the only thing that really tells you what happened during shooting.

Okay thanks. So when I am shooting a movie, I should say write down take 1, take 2, and not re-start the take count, if I move the camera to a different shot. I should still continue the count where you leave off, no matter what shot it is, or no matter who's take it is, based on the actor in front of the camera?

 

[Sweetie]

I should say write down take 1, take 2, and not re-start the take count

No.

Ok, lets go through this once. I don't know if I've gone through this with you already. A big part (in the initial stages) of the editing process is organizational.

When you receive the footage, you need to sort through it. There are many ways this can be done. You need to log the footage (so you can find what you need without wasting time) and sync the audio. While this task can be assigned (and usually is) to the assistant editor.

To organize the footage, you'll want a combination of the camera log, sound log and Script supervisor/continuity logs. Where it gets painful is when these logs aren't present/haven't been recorded.

Lets go through your Roll, Scene and Take question as we go. I assume you've seen on TV where the 2ac/clapper calls, "Scene 1b Take 3" and so on. When you move the camera, it's a new piece of coverage. When it's new coverage, reset the takes back to 1. The editor will thank you if you follow this process.

since there is no SHOT written on the slate, how do you know?

Within the camera logs and continuity logs will be notes to what each shot will be matched to the scene number. So lets say you're shooting scene 1. The first shot is your master shot. You'll put in the scene area of the clapper board "1A" as your scene number, and note in the camera & continuity logs that 1A is your master. When you move on to the next piece of coverage within the scene, change the scene to 1B and so on. It's common to skip "I" and "O" to prevent misunderstanding of "1" and zero.

When there are no logs, the editor/assistant editor has to visually inspect the footage (which is a good practice to be in, even if there are logs) to work out what each shot actually is.

Roll, as said earlier is used to note which card you're recording on, or reel if you're shooting on film.

The editor should look at all the footage and take notes (it's often good to do this with the director during rushes, if done) to which takes are good, bad and so on.

Good script supervisor notes can really save time when editing, but that's a separate topic.

 

[harmonica44]

Okay thanks. In Premiere Pro, how do you sync the audio with the video, that so take 1 audio, for example, and take 1 video, will forever be matched, and you won't have to keep doing it, if you decide to use it again?

Also, why would you need to know what color temperature or focal length is used in the editing? If the director made those decisions on set already, than he/she is probably happy with them, and would not mind you using those takes in the editing, right? Is it common that a director will say, "I changed my mind, do not use any of the takes shot with a 50mm", or with a color temperature or 3200 kelvin" And then you would have to sort through the log and boycott all those shots?

Cause no director would probably make those decisions on set, and then change his/her mind and want to boycott all those shots in post, unless it's put in the log for a different reason of course.

 

[wheatgrinder]

Sync the video and audio in its own sequence. Then in your edit use your synced sequence rather than the footage and audio separately.

you can do this after the fact by using the special keyboard commands to copy and replace leaving edits in place. Too complicated for this post, but something Iv been meaning to make a tut on.

 

[jax_rox]

Okay thanks. In Premiere Pro, how do you sync the audio with the video, that so take 1 audio, for example, and take 1 video, will forever be matched, and you won't have to keep doing it, if you decide to use it again?

Set your in-points for the clips to be the slate hit and then sync via in-points.

Also, why would you need to know what color temperature or focal length is used in the editing? If the director made those decisions on set already, than he/she is probably happy with them, and would not mind you using those takes in the editing, right? Is it common that a director will say, "I changed my mind, do not use any of the takes shot with a 50mm", or with a color temperature or 3200 kelvin" And then you would have to sort through the log and boycott all those shots?

No. This is to keep a log of everything, so that when you come back to shoot pickups, you know exactly what white balance you had, what lens you were using, what stop you were shooting at, at what ISO and what distance you were to the subject. Trust me, when you realise you need to re-shoot or pick-up a shot for whatever reason, then camera reports come in real handy!
Also, they are very useful for VFX guys for doing matching, tracking etc.

Continuity reports notate the coverage for the scene and are super useful for a whole host of other reasons.

 

[Sweetie]

In Premiere Pro, how do you sync the audio with the video

RTFM. There are a few methods. You need to choose the method that works best for the situation. Learn what methods are available to you in your software (as it can be version specific with PP). On top of that, people have described the process in detail with you on this. Don't make me beat you to death due to your own stupidity.

Jax answered the other question more than adequately.