![]() Marked (for quickly selecting/deselecting certain records).“can’t make the movie without this shot,” “probably use,” “ok” “meh”) Notes (like “pair this quote with that photo from 1987”).People (either mentioned in interview or connected to a photograph).Rightsholder (great for keeping track of archival material still to be licensed).Type of material (interview, b-roll, photograph, music cue, etc).Here are the fields Rain used in Filemaker: Rain would fill in the fields from the info she'd logged in Premiere or Inqscribe and add screenshots to keep visual track of the clip. Create a new document, which sets up a default "table." Then you can start creating fields for the things you want to keep track of. I’m so glad I did, because I developed a custom database that tracks a lot more information, in a far more accessible fashion, than I could store in the marker notes in Premiere.Ī typical entry in Rain's comprehensive Filemaker database.įor those of you who have never used Filemaker before, the basics are simple. I remembered reading about him using Filemaker, so I invested in it. I needed a record of every interview quote I might use and every bit of b-roll, photograph, audio clip, potential music cue, etc. Again, Walter Murch came to the rescue. She had planned to use Premiere's global marker search to organize the footage, but at the time Adobe hadn't added that feature.Īt this point I realized I needed a killer database. Eventually though, it became clear that this method wasn't the end game tool, so she subscribed to Premiere Pro to insert markers on the clips themselves. Then I can copy and paste each quote into the database.Īt first, Rain tried using Inqscribe to mark all of the dialogue on each clip. Send the email to myself and open it on my computer.Play back the clip in Premiere with headphones on, and, using Siri, dictate those quotes into the email.Open an email on my iPhone and address it to myself. ![]() Rain describes her refined 1-2-3 transcription process: When she was logging the interviews she'd already transcribed in Inqscribe, she dug out the pertinent quotes and copied and pasted them in. Here's how she did it.įor interviews, Perry wanted an exact transcription. ![]() Using a combination of Inqscribe, Filemaker Pro, Premiere Pro and Excel, Rain's Murch-esque database was an invaluable tool to keep track of every sound bite during her first time directing. ![]() In order to keep the film straight in her head and save money, she made a database of all of her footage so she could pre-visualize edits before handing it off to me as the film's actual editor. "It’s super time-consuming but it makes a lot of sense because, as the director, I need to have seen every moment of footage and, as the producer, I want to save time and money." After reading that Particle Fever director Mark Levinson essentially made himself legendary editor Walter Murch's assistant on his own film's post-production, director Rain Perry decided to the same for her documentary The Shopkeeper, about a music producer in Texas. Going through post-production on an independent film can be tough: editors are expensive and the process can drag on for months or even years, especially for documentaries. When first-time director Rain Perry got to post with her doc The Shopkeeper, she quickly realized she needed a way to edit without actually editing.
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