Speaker 1: Hi, this is Vasi Nedimanski. I'm a film editor based out of Los Angeles and I wanted to first of all welcome you and thank you for taking part in my post-production quick course which consists of 10 videos and also a 69-page PDF that will go further into depth into all the topics that we're going to talk about over the next 10 weeks. I would also like to thank Dell and NVIDIA for providing this powerhouse mobile workstation which will be given away at the conclusion of this 10-week course. Now that we've set up all our preferences and optimized our system, the first thing that we have to do, and it's extremely important, is to organize our project, create a bin structure to hold all our footage, import all our assets in the best possible way so we preserve all the metadata and maintain access to all the additional information that's attached to these files, and then sync the audio to the picture because on most feature films the audio, any dialogue, any sound is recorded separately so we have to merge or sync the video with the highest quality sound files before we start editing. There's a tendency to want to start editing right away but it's critical to organize your footage and become familiar with your footage before you start editing the first frame. Several months ago I started editing a feature-length documentary using a laptop for the first time. It's a Dell 7750 Precision workstation and it has an NVIDIA RTX 5000 graphics card. For this project, here's how I break down my bins. I have my sequences which has my current cuts, I have an interview folder that has my latest interviews, my music folder has all my original score and my library that I purchased, nested VFX that have been done in my timeline, photos include all the historical photos, random assets are just stuff I want to keep close by but not really define, my titles are all my on-screen text files that I've written out, my VFX folder holds all my film grains and 16 and 8mm scans that I've used, my video includes all the original source footage, my VO is my voiceover folder where I maintain that, and my AE dynamic is what I send to After Effects using Dynamic Link right from Premiere Pro. On six below, we had over 100 hours of footage and we're collaborating between five people so I kept it to seven simple folders that are numbered so you can easily see where they live and more importantly where to add new assets to the project as you keep moving forward. Now when it comes to importing footage the right way, if there's one takeaway from this entire chapter, it is use the media browser to import any assets. This will guarantee that any kind of spanned footage, any kind of red files where you only want the video file, any kind of audio, this will guarantee that it comes in cleanly with all the metadata and will give you access to the latest codecs and you won't have any compatibility issues and you won't have any problems with footage being imported that doesn't play. Use the media browser. It's basically a finder within Premiere Pro so here I drill down to my external hard drive, find the folder that I want, then I hit the tilde key which is the top left of the keyboard underneath the escape key. This lets me see the actual footage within the folder and I can scroll through it to make sure it's exactly the clip that I want. I hit right click and then I choose import to bring that clip into my project. Once all my assets have been imported into my project, then the syncing process can begin. Up here I have all my video files that have scratch audio and underneath I have my audio files recorded from my boom mic and my lavaliers. Because all my assets are in one folder, I can actually choose all the video and audio files at once and do a batch sync. If I right click on the highlighted selection, I can choose create multi-camera source sequence which then gives me the options of choosing an in point, an out point, the time code of the actual clip or the sound time code from the audio or even the waveforms from all the audio files so it can sync it. The rest of the options I leave in their default state as that usually works out the best. Once I hit OK, Premiere Pro will process all the waveforms and create the multi-camera clips. Once the processing is done, you can see here one of the multi-cam clips that have been created. This is what you insert into your timeline and edit with as you have access to all the audio files associated with the video file. And since this is a non-destructive process, you always have access to the original video and audio files. So that's my process for organizing, importing, and syncing all my assets so I can begin the creative process of storytelling and editing and moving forward. Make sure to download the 10 chapter PDF so you can have access and reference and have all the specifics that I've been discussing. So thank you for taking the time to join me. I shall see you next week for the next chapter. Until then, stay safe and be kind to one another.