Wrap is done. Now, land the footage cleanly so the editorial team sees what you meant, and the colorist can finish what you started.
Lock the media
Make two copies to two separate drives. Copy the entire card structure, not just the movie files. Open a few clips on each drive and scrub start, middle, and end. Label the card, bag it, and hold formatting until you know both copies are good.
Keep the folders simple and consistent.
Use a clear path like: Show > ShootDay_YYMMDD > CameraA > Card01. Match reel IDs and file notes to your camera reports so nothing drifts.
Send a look card with your intent.
Share the monitoring LUT, white balance, ISO, T-stop, filtration, and any lighting notes. Request neutral dailies with the look applied for viewing, not baked in.
Give editorial clean notes.
List circle takes, watch-fors, and any time-of-day or weather shifts they should expect. If you made compromises under pressure, explain what to favor in the first cut.
Sync and proxy basics
Confirm frame lines, aspect ratio, timecode, and audio sync. Agree on proxy specs so the cut is fast and stable. Make sure spanned clips and proxies relink.
Loop in color early
Send a few reference frames for skin and key scenes. Flag tricky shots and share when color is likely to happen so they can plan.
Indie micro checklist
– Two copies made and spot-checked
– Card structure preserved on both drives
– Folder names and reel IDs match reports
– Look card and circle takes sent
– Editor has aspect, frame lines, proxy plan, and sync info
– Colorist has refs and heads-up on problem shots
Question for the lounge
What is your simplest, rock-solid ingest workflow or folder template that never lets you down on indie jobs?
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Great tips, Lindsay Thompson! Your Cinematographer’s Process series is a must-read!