Each episode or reel (in features) will have its own tab in the Matrix
Assistants are asked to send a markers list detailing all conform, grade and online notes from the edit for each episode during TO. This list is imported by The Look into the matrix for future use.
Timelines and EDLs should be designed as follows:
Video Layer 1 - All shots that either have no effects at all or those that have online effects only
Video Layer 2 - The backplates/backgrounds of any effects shot (correctly named as below with 'bg' present)
Video Layer 3 and above- The additional elements needed to create the VFX shots, with further layers for extra elements where required.
If you have shots that dissolve between each other between Video Layers 1 and 2 then we request that you let us know and move the VFX plates (BG and above) on to a new higher layer so there is no confusion.
The Look uses an automated VFX pull and drop system called LookSmart. For shows with over 10 VFX shots per episode we ask that you supply VFX pull turnovers via EDL.
These EDLs will be used to generate the VFX shots and update the Matrix.
Naming Convention:
In order for the VFX workflow to integrate with LookSmart we ask that you use the following naming structure for all VFX shots:
ABC_000_111_222_BG
ABC - This 3 character code should be substituted with something that corresponds to the job name.
000 - The first 3 digit section should be substituted with the series and episode number (e.g. 101)
111 - The second 3 digit section should be substituted with the scene number at 3 padding. (e.g. 016)
222 - The third 3 digit section should be substituted with the shot number at 3 padding. (e.g. 010)
BG - The final section indicates the plate type. Options include BG, FG and E#
LookSmart pulls VFX shot names directly from the pull EDLs, so these must be included and correct for every shot in the EDLs.
A note on ELEMENT plates:
Element plates should be numbered from E1 and up in increments of 1 (E1, E2, E3 etc) per shot (i.e. VL1=BG, VL2=E1, VL3=E2 ETC)
If elements are a series of options for a plate then the above still stands. However, it may be best to write they are options for the BG plate in the comments. These will then get pulled through into the matrix, and the PDF report that is sent alongside the VFX turnover.
Handles:
Handles must be agreed between the post production departments before VFX pulls begin. Please do not add handles to the pull EDLs as they will be automatically added and processed by LookSmart.
If a shot needs more (or fewer) than the agreed standard number of handles, the naming convention of the shot in the EDL can be added to as so: ABC_000_111_222_BG_24H, where the digits before the 'H' denote the number of handles required. This will override the default handles and provide, in this example, 24 frame handles instead.
Comments:
In the Comments section for each shot, please add a short description that explains what needs to be completed in each shot. This will pull through into the Matrix during the automatic pull, which negates the requirement for the matrix to be manually filled out by the assistant with descriptions of shots.
Respeeds
Unless otherwise agreed with Production, VFX EDLs should be delivered without respeeds.
EDL layers
For LookSmart to work correctly we require an EDL for each video layer. This will usually include one for BGs, and then another for each element layer after that. All shots must be at the correct timecode in the master sequence (if locked)
Pre-Lock Pulls
Pre-lock VFX turnovers can be delivered as a stringout of shots, along with an offline reference Quicktime of the sequence. The stringout should be clean of effects, including respeeds. For the purposes of completing the matrix only, an EDL of the cut should also be supplied.
EDL Naming
Please ensure all pull EDLs follow the below naming convention:
ABC_TO_000_111_222222
ABC - Job name, as mentioned above
000 - Turnover number, i.e. 001 for the first pull, 017 for the seventeenth.
111 - Series and episode number, as mentioned above
222222 - Date of turnover
We also ask that you complete the destination timecode matching the offline supplied so we can find it quickly.
Shots that are deemed to be done in the 'online' do not need a shot number, however, we will advise on this as anything other than a simple re-speed or resize may not be suitable for online so we have final say on this.
A note about re-speeds: One of the issues we have is recreating the same sort of re-speed ramp that was created in the Avid as we often have to match it by eye. A little trick is to create your speed ramp in the Avid and when happy go through frame by frame inserting a 'add edit/fake edit'. This then means that our system will pick the exact same frames and recreate your re-speed perfectly as it grabs each frame at a time using the EDL information. We do request that you put these frame edited respeeds on their own Video Layer though so we know what they are. You can leave the original on the Video Layer 1 as well. Be aware, while Avid 'Flow Motion' can look good on compressed Avid DNX36 files, they won't look as good at 4K. Use them only when absolutely necessary.
Please name your EDLs including the cut revision and any other info you normally use, but also add the video layer number 'VL1' and VFX//RESPEEDS as appropriate (both in the header of the EDL and the filename of it) so we know exactly what it contains and where it should go. Always add a revision number to the end (v01) and note this is different to (VL1).
The advantage of all this is that is aids us in the conform, as well as subsequent re-conforms of later vfx shots or even cut changes.
THE VFX MATRIX
The VFX Matrix provides an overview of the status for each VFX shot in an episode/reel in reference to its final delivery date.
The VFX Matrix will be updated by a member of the Look team and its systems at The Look once the Online documents have been completed.
It can be useful to include thumbnails from your Avid in shared Google Sheets. In particular, having an image of each VFX shot. This is quite simple to do but you must be aware of the security issues around this. Due to the nature of people being shared.
Upload a small JPEG still (500pixels wide) to a private hosting site that allows private links to thumbnails. We are unable to host thumbnails for you due to our restrictions as we are a member of the Trusted Partner Network (TPN)
Copy the File URL of the image you want to use
Go into the desired google sheet Matrix and use the formula =IMAGE("URL,1") replacing url with the File URL
Stretch the cell so that the image is the size you want it, alternatively visit https://support.google.com/docs/answer/3093333?hl=en-GB&rd=1 to learn how to alter the formula so you can make the image a specific size
Mobile and iPad users: it is possible to edit a Google Sheet via your mobile browser or iPad, but you will need to download the Google Sheets app (your phone will prompt you to do this). Once installed replace the https:// in the link we send you with Googlesheets:// in your browser - this will force your phone to open the sheet in the proper Google Sheets app where you can edit it easily
THE DELIVERY MATRIX
*** THIS TAB IS EDITED INTERNALLY ***
The Delivery Matrix will be completed by a member of The Look. Any additional or new deliverables MUST be requested through the Bookings department. (bookings@thelooklondon.com)
The Delivery Matrix is compiled in reference to the quote and tech specs provided to us, as well as any other written requests we have received. An ID (e.g. LOA0001) is assigned to the deliverable.
This allows us to locate it more easily within our network, allowing things to be delivered and checked quickly and easily.
In accordance to the key found within the worksheet each deliverable is marked with a colour relating to it's current status (e.g. Green = Delivered) This is updated regularly and allows you to check where each deliverable is in the delivery process.
Once an asset has been delivered a comment will be inserted to note when the delivery was made. (e.g. DOD = 23/07/16)
THANK YOU FOR YOUR HELP
