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Prepared By
American Forces Network HD Workflow Playbook v1.1
(March 2015)
Document Owner(s) Project/Organization Role
Plans and Training Originating Office
Operations Manager Coordination
Deputy Commander Coordination
Commander Policy
Note: The contents of this manual prescribe methods of high definition (HD) digital video workflow within American Forces Network (AFN). Deviation from methods described is unauthorized.
All previous editions of the HD Workflow Playbook, or any similar document describing digital video workflow, are obsolete, and will be deleted and/or destroyed.
AFN HD Workflow 26 Jun 2014
Contents
INTRODUCTION................................................................................................... 3
Welcome ............................................................................................................... 3
Responsibility .................................................................................................... 3
PROJECT CHECKLIST ........................................................................................... 4
ADOBE PREMIERE PROJECT PROCESS .......................................................... 5
1. Create a Project Folder ................................................................................ 5
2. Clone P2 Cards ............................................................................................. 6
3. Create New Premiere Pro Project ................................................................. 7
4. Import Media with Media Browser ............................................................... 12
5. Import Narration from Adobe Audition .......................................................... 13
6. Duplicate Sequence .................................................................................. 16
7. Trim / Copy Sequence with Project Manager ................................................. 16
8. Export Completed Sequences with Media Encoder ........................................ 17
A. Export for Broadcast via Sundance Titan .......................................... 18
B. Export for Web and mobile app ....................................................... 19
C. Export for RMC or DMA Production Use ............................................ 20
9. Archive Media ............................................................................................. 25
10. Delete Project .......................................................................................... 28
Appendix A – P2 Camera Setup/Operation Checklist .......................................... 29
Appendix B – Using Adobe Bridge for Finding / Retrieving Media ......................... 34
Appendix C – Metadata Keyword List .................................................................. 36
Appendix D – TV News Slates ............................................................................. 37
Appendix E – TV Spot Slates............................................................................... 39
Appendix F – TV News Script Format .................................................................. 41
Appendix G – Audio Levels ................................................................................. 43
Appendix H – How to Create a VIRIN .................................................................. 44
AFN HD Workflow 3
INTRODUCTION
This document’s purpose is to familiarize all AFN producers on proper usage of television production procedures, often referred to as HD Workflow.
Note: This workflow has been updated to take advantage of the Adobe Creative Cloud versions of their software and the addition of the newer Panasonic HPX-250 video cameras. If you still are using Adobe CS6 or the HPX-170 cameras some options or settings might not apply.
Welcome
This playbook spells out simply, but in appropriate detail, the proper procedures for High Definition digital video workflow (HD Workflow) within an AFN station, center or bureau.
The processes described are policy for a host of reasons, to include logical and efficient use of broadcast equipment and simplification of workflow beyond just a journalist’s computer. By following these procedures, producers do their part in maintaining the HD migration, which is vital for the success of our broadcast mission.
The playbook is organized by three different areas. First is a checklist that can be used as a quick overview of the HD workflow. The next section is a detailed breakdown of the project workflow process. Additionally, there are several appendices that cover P2 Camera Setup, Archiving Keywords, Slate and Script Requirements, etc.
Study all parts of this playbook. Learn to use it as the HD workflow #1 “go-to” reference.
Responsibility
Producers are responsible for following AFN’s standard workflow practices as outlined in this Playbook. It’s station management’s responsibility to ensure all producers and traffic managers have a current copy of this playbook, train with this playbook, and ensure producers are following the procedures outlined in this playbook.
It is essential that producers understand this workflow requires compliance for it to be effective. Unlike the Avid systems of the past, Adobe Premiere CC allows you to use media of almost any kind from almost anywhere. This means that if the source media you use is changed, deleted, renamed, or moved it will directly affect your project. Having media go offline can be extremely difficult to rectify if you weren’t the cause for it to be altered or deleted and will almost certainly increase the amount of time it takes to complete your project.
AFN HD Workflow 4
PROJECT CHECKLIST
Set up your P2 camera for High Definition (AVC-I 100 720p/30PN). o Format and label P2 card with story slug.
o Shoot media as required.
Create a new project folder on your Media Drive within the “_Projects” folder using the standard naming convention: YYMMDD dash producer’s three initials dash slug line; EX: 130218-RHP-NewCarSales. Create two new folders named “Media” and “Desktop” within this folder.
Clone P2 Card(s). In the project’s Media folder, create a folder for each P2 Card named Card1, Card2 etc. Using Windows Explorer, copy all of the contents of the P2 Card containing your b-roll or video into its respective folder.
Create an Adobe Premiere Pro project on your local Media drive using the same name and in the same folder. Create and name the sequence appending “(Original)” following the slug line. EX: 150218-RHP-NewCarSales (Original)
Using Premiere’s Media Browser, import required clips from your cloned P2 card(s).
Voice narration into Adobe Audition being sure to save all clips into the project’s
Media Folder.
Using Premiere’s Media Browser, import any additional stills, video, graphics, or
audio needed into appropriately named folders within the project’s Media Folder.
Build timelines as required. Duplicate completed sequence to create alternate versions for 1-Minute Update, Radio News, Web, etc. Name new sequences with the type appended at the end. For example: RHP-NewCarSales(RadioNews).
Use the Adobe Media Encoder to export sequence for air and/or distribution.
If needed, use Agility Watchfolders for transcoding and file distribution to TV automation.
Choose and name b-roll master clips for archiving. Mark suggested in and out points. Put related clips into sequences and name using your VIRIN sequence number and add Metadata including KEYWORDS from the AFN Keyword Master List. Export the sequence to the Archive folder of your project.
Using Adobe Bridge, move products for archiving to local SAN.
For products requiring future editing such as donuts or spots with dynamic info, use the Project Manager to create a trimmed copy of the sequence on the local SAN.
After project is used, aired or no longer needed, delete the entire project folder from the Media Drive using Windows Explorer.
AFN HD Workflow 5
ADOBE PREMIERE PROJECT PROCESS
1. Before you create a new project for your Premiere Pro CC project you need to create a Project Folder that will hold all of your media, clips and sequences as well as other files that Premiere will create along the way. The following steps are accomplished from the Windows Explorer prior to starting Premiere.
Navigate to your Media Drive and open your “_Projects” folder. Right-Click and create a new folder inside your project folder. Name this new folder using the following naming standard:
YYMMDD-FML-Story or Project Slug
Project Date
Story Slug or Project Name
Producer Initials
As an example: 141217-RHP-McArthurAwards.
Open this folder and repeat the same steps to create two additional folders: Media and Desktop. All media you create, capture, or import will go into the media folder. The desktop folder is a temporary storage location for files you export and plan to move much like you already use your real “desktop.”
AFN HD Workflow 6
2. All of the footage you shoot should be contained within one or more P2 cards which will need to be incorporated into your project folder. This is accomplished by cloning your cards to your project’s Media Folder.
Note: Premiere does allow you to edit your story directly from your P2 card without cloning the cards, but this is a very risky move since there will be NO backup for your media. Additionally, cloning your card allows you to quickly reuse the P2 card for other projects without impacting your editing.
To clone your card, simply insert the P2 card into your computer’s card reader or PCMCIA slot and copy it to the project folder.
It is vital that you copy BOTH
the “Contents” folder and the
“Lastclip” text file.
Your P2 Card will be listed as a “Removable Disk”
You will create a new folder within the “Media” folder for each card (i.e. Card1, Card2, etc.) and copy both the “Contents” folder and the “Lastclip” text file in this folder.
Additionally, all other media needed for this project will be contained within the same “Media” folder.
Here is the cloned card with all of the subfolders intact within the “Contents” folder.
AFN HD Workflow 7
3. Create a new Premiere Pro CC project by clicking the “New Project” icon from the welcome screen.
On the “New Project” dialog box you have several items to verify including…
Use “Timecode” as the Video display method
The capture method is only needed if you still use tape (HDV).
Use the default “Audio
Samples” as the audio display method
Most systems will have
the GPU accelerator
selected by default.
AFN HD Workflow 8
The location for all Premiere projects is the “_Projects” folder on your Media Drive. If the default location is wrong use the “Browse” button to navigate to your Projects folder.
All Premiere projects will be named using the following standard:
YYMMDD-FML-Story or Project Slug
Project Date
Story Slug or Project Name
Producer Initials
As an example: 141217-RHP-McArthurAwards
All five should be set to “Same as Project” to ensure all media remains with the project.
Click on the “Scratch Disks” Tab
Click “OK” after setting location and Name as shown below.
AFN HD Workflow 9
The Premiere Pro CC no longer requires you to create your first sequence before completing the project creation process. Now, you will be taken to the Premiere Pro CC user interface once you click “OK” If you are working on a News product, it’s important to properly setup everything to include the Video format and the Audio Tracks.
To create your first sequence you have many options including the “New Item” button, CTL-N, or from the “File” menu. Once you set these up the first time, you will save it as a preset that will be available for you for all subsequent news projects.
AFN HD Workflow 10
Most of the proper settings are available by selecting the AVC-I 100 720p30 preset.
Now select the “Tracks” tab.
Change the “Track Type” for all tracks to “Mono”
NOTE: Setting up the tracks is essential for News products. This allows you to maintain the split audio needed for downstream editing of your finished stories.
Use the “Pan/Balance” slider to pan tracks 1&3 to LEFT and tracks 2&4 to RIGHT. Additionally, click the “Open” box to have these tracks expanded when you begin editing.
Twirl down AVC-Intra and 720p to select the 720p30 preset.
These settings are displayed in the description window as well as the “Settings” tab
AFN HD Workflow 11
Name your sequence with the story slug or project title plus (Original).
Once you have the setting correct, click the “Save Preset” button, and then name your preset settings.
From now on, all subsequent sequences that need separate mono audio tracks with alternating left and right panning can be used with this preset.
AFN HD Workflow 12
Navigate to cloned P2 card folder to see your clips.
You can swap between frame and text view with these buttons.
You can scrub the clips by passing the cursor over the clips to help you
identify the needed clips
4. Even though you have cloned your card your project’s “Media” folder it is not ready to use in your project until you import the clips. This is done from within Premiere using the Media Browser.
You can access the Media Browser from the Windows pull-down menu or by pressing Shift-8. You can maximize the screen by pressing the tilde key (~) found at the top left corner of the keyboard. When you navigate to the cloned P2 Card folder, “Card1”, the Media Browser will automatically recognize it and display all of the clips you shot on the card.
Control-Click the clips you want to select or press Control-A to select all of the clips; then Right-Click and select “Import” the clips into your project.
This same process can be used to import any other type of media into your project to include audio, video, graphics, etc., however, you must first use Windows Explorer to copy the files to your project’s “Media” folder to ensure that all assets remain with the project at all times.
To help stay organized you can create one or more folders, also known as bins, within the “Project” window and then move your imported clips into them. This can help segregate clips by location, time, subject, etc.
Once the clips are imported you can begin to assemble a rough cut. For this you will need a sequence. If you didn’t already setup your sequence when you created the project, or need a new one, select New > Sequence from the “File” menu or press Control-N and select the HD News preset you made in Step 3.
AFN HD Workflow 13
5. After building the rough cut timeline and writing your script, voice your script in Adobe Audition. Even though you will probably record a stereo track in Audition, it is vital that you bring a mono track to Premiere Pro to maintain the split audio needed for many productions.
You can accomplish very easily using the “Convert to Mono” command from the “Favorites.”
AFN HD Workflow 14
Browse to your project’s “Media” folder on your Media Drive
Name your audio clip consistent with your project but add “Narration”
From the “File” menu choose “Save Selection As” or press Control-Shift-S.
If you see this pop up dialog, it is just warning you that you are using a compressed audio format and click
“Yes.”
This part of the process relies on you logging into the computer in the audio booth or radio studio with your own credentials to ensure that you are appropriately mapped to your own workstation’s Media Drive. If you cannot do this at you station, you can either use a shared drive or a P2 Card to transfer the file from the audio booth back to your editor. Remember to delete the original files when you finish copying to your Media folder.
Pull down to select MP3 audio as the Format
AFN HD Workflow 15
All of the media you use for your project should first be copied to the project’s Media folder.
Use the “Drag Audio Only” button to place
your narration.
Once the audio is saved, you can import the narration into your project from the “Media” folder by selecting Import from the “File” menu or pressing Control-I.
.
When you drag the audio into your sequence, remember to use “Drag Audio Only“ button from the “Source” window and place it in the appropriately panned mono track.
AFN HD Workflow 16
6. In addition to the “original” a news story can take many forms including radio news, web, One-Minute Update versions. To make these other versions it is often helpful to Duplicate the sequence and then modify it, as needed. To duplicate your sequence, select it in the Project window then Right-Click and select Duplicate or press Control-Shift-/.
Be sure to immediately rename the new sequence appropriately appended with
the type of product to the end of the standard naming convention. For example 141217-RHP-McArthurAwards-YouTube.
7. Completed News Stories are often used in other products to include one and two
minute reports or radio newscasts. When these are produced by other producers on other workstations, it is necessary to make your project and all of the assets available to them. For this we use the Premiere’s Project Manager.
Select the completed sequence in the Project window and then select “Project Manager” from the “File” menu.
The completed sequence you selected should be listed here.
This option limits the new project to only what was needed.
"Create New
Trimmed
Project" will only export the
pieces of the media that was
used in the timeline.
"Collect Files and
Copy" will take the
entire media file instead of just the
piece that was used.
If you renamed your clips to help identify them do not select rename or it will make them all conform to the project
name. Browse to the “Shared Project” folder on your
location’s SAN.
AFN HD Workflow 17
Marked Work Area
The result is a new Project folder on your location’s SAN in the “Shared Projects” folder. You can also save this to the “Desktop” folder in your Project folder temporarily. The folder will have “Copied_” added to the original project folder name but all of the contents will retain their original names.
Only the clips and media used will be copied into this new Project folder which also makes it particularly useful for instances when you “have to” edit directly from the P2 card. The “Project Manager” can be used to move only the clips used in your story to your Project folder to bring you back into compliance with this workflow standard.
8. Completed sequences need to be exported to the proper format based on the
user’s requirements. Each user may have different requirements thus requiring multiple exports which can be handled from within Premiere using the Media Encoder.
You must make sure that the part of your sequence you want exported is either the entire sequence or marked with an In & Out point.
Despite the type of encoding needed the export is initiated from within Premiere by selecting the completed sequence in the Project window.
Then select Export > Media from the File menu or press Control-M.
This brings up the Export Settings where you will select the right settings corresponding to what the product will be used for.
Once the settings are configured, you can save them as a preset which you can just choose next time.
AFN HD Workflow 18
Select the part of the sequence you need to export.
For AFN Broadcast via Sundance Titan: Producers will continue to shoot and edit in 720p but when exporting the Media Encoder will down convert the product to widescreen (16x9) SD.
Select the MPEG2 Format and change or verify the settings shown below with
special attention to the ones marked with red arrows.
Click on the “Output Name” and select as
your destination your Agility Watchfolder
for Titan Export. Ensure the name used is representative of the product.
KEY SETTINGS
Format: MPEG2
Quality: 100
TV Standard: NTSC
Frame Width: 720
Frame Height: 480
Field Order: Lower
Pixel Aspect Ratio: 16:9
Profile: High
Level: High
Bitrate Encoding: CBR
Bitrate: 6.62
Frame Blending: Use
Use this button to save preset.
When ready to export, select Queue to launch the Media Encoder. This will allow you to setup
multiple exports for the same sequence at the same time.
Note: If you
have already
created a
preset for this
export, simply
choose it and
adjust the
Output Name,
Location and
Source Range
before hitting
the “Queue”
button.
Note: If you
don’t have
Agility in your
station, simply
save the file to
your project’s
“Desktop”
folder and
then move as
needed.
AFN HD Workflow 19
Select the part of the sequence you need to export.
Use the Format pull down to select H.264. Use the Preset pull down to YouTube HD 720p 29.97
Click on the “Output Name” and select as the destination the “Desktop” folder with your Project folder.
For the AFN Europe Web and mobile app: Producers will select the H.264 format and then select the YouTube HD 720p 29.97 preset and make the changes below marked with red arrows.
KEY SETTINGS
Format: H.264 Bitrate Encoding: CBR
Bitrate: 1.5
Use this button to save preset.
Once the settings are configured, you can save them as a preset which you can just choose next time you render.
When ready to export, select Queue to launch the Media Encoder. This will
allow you to setup multiple exports for the same sequence at the same time.
Once encoded, the product can be uploaded to the AFNE Content Management System via FTP according to local SOP.
Note: If you
have already
created a
preset for this
export, simply
choose it and
adjust the
Output Name,
Location and
Source Range
before hitting
the “Queue”
button.
AFN HD Workflow 20
Select the part of the sequence you need to export.
Use the Format pull down to select H.264. Use the Preset pull down to HD 720p 29.97
Click on the “Output Name” and select as the destination the “Desktop” folder with your Project folder.
This preset will adjust all of the required settings.
For RMC or DMA Production Use: Producers will use the H.264 codec (HD 720p 29.97).
Scripts and slates are needed and should be included with your projects. Scripts are saved in the “project” folder and slates are added to your sequence before exporting. See Appendix D, E, and F for specific guidance.
All completed products will also need the addition of metadata added so pertinent information about this product is maintained along with the video.
Click on the “Metadata” button (marked above with the red arrow).
Note: I have
created another
Preset for these
settings and
called it
AFN/DMA
Production to
make it easier
to find and use.
AFN HD Workflow 21
Fill in all of the items shown above. This information will be stored along with the video inside of the file and is accessible from within Adobe Bridge or Premiere.
Ensure “Embed” is selected.
Twirl down
the triangle to reveal fields.
When ready to export, select Queue to launch the Media Encoder. This will allow you to setup multiple exports for the same sequence at the same time.
Once exported, the product should be QC’d and sent to the RMC/TPC/DMA Production using local procedures.
AFN HD Workflow 22
Any Presets you have made will show up here.
Press this to start processing the cue.
When you chose to encode your products from within Premiere you won’t be able to do any more work until the encoding is done. This can slow down your work considerably therefore it is recommended for you to “QUEUE” your export to the Adobe Media Encoder.
When you click on “QUEUE” from the Export Setting window it will launch the Media Encoder for you. Depending on your computer this could take a couple of moments.
Once loaded you will see your exported Sequence listed in the QUEUE. It will not begin encoding until you Click on the green Play button.
.
Another advantage of the QUEUE is that from here you have the ability to setup multiple simultaneous encodings. For instance, you can export initially for TV Automation and add for Web, and for AFN/DMA Production.
All you need to do is select the appropriate preset from the right-hand column and drag it on to your sequence and in the Queue and a new export will be created.
If there aren’t presets already made for the type of export you want to make, you can either choose from one of the System Presets or make a new User Preset.
AFN HD Workflow 23
To make a new User Preset click on the “+” button on
the top of the Preset Browser.
This will launch a new settings window for you to customize.
Be sure to name your preset and select the desired format.
You can use any of the previously specified settings or create new ones based on client needs.
You can select another preset to base the new one.
There are also options for sending completed via FTP but there is presently no way to send via Secure FTP.
Click OK to Save this preset.
The new Preset will be listing in the Preset Browser and can be dropped on to your sequence to queue another export.
AFN HD Workflow 24
Once you have queued all of your exports you can click on the Green Start button
to begin the encoding.
All of the queued exports will begin encoding simultaneously. At this point you can resume editing in Premiere. You will hear a chime when the exporting is done and the newly created video files will be in your project folder.
If the Agility is needed for further processing, like for TV Automation, simply copy the file from your Project folder using the Windows Explorer to the appropriate Agility Watch Folder.
Exported products should be QC’d and sent to the RMC/TPC/DMA Production using local procedures.
AFN HD Workflow 25
9. Once the exporting is complete, video that might be needed in future products should be archived. Ideally, supervisors would determine the specific need for archived footage during the story assignment phase and this should be communicated to the producer before shooting begins.
AFN will maintain three levels of Archives to include near term storage (up to 24 months) at each station or bureau, a Regional near term storage that will also have copies of all of the station and bureau files, and long term storage and retrieval via DIMOC. Producers will be responsible for managing their local archives and the Region will be responsible for both the Regional near term storage and the pushing of media to DIMOC. The regional archive procedures will be developed in another SOP.
The exported high quality MP4 (H.264, HD 720p 29.97) for each product in the project file will be copied to the appropriate “Finished Products” folder (designated by the month & year) in the location’s SAN.
Local Storage Area Network (SAN) Templates/Donuts
Graphics
Web Assets
B-Roll Archive
Finished Products o TV/Radio Spots
o TV/Radio News JAN 12 FEB 12
MAR 12
Once production is wrapped up, the producer should create a new sequence with “-Prime Cuts” appended to the name. For example: 141217-RHP-McArthur Awards-Prime Cuts. This sequence will consist of all of the best footage from your shoot, cleanly trimmed and without overlapping audio. Also, include all usable, relevant interview responses, even if they weren't used. In most cases, there will be footage in the Prime Cuts product that didn't make it into your 'final' products. Be sure to include the accompanying audio and a 5 second slate at the beginning of the sequence.
AFN HD Workflow 26
When the Prime Cut sequence is complete, it can be exported using the Export > Media command from the File menu or by pressing Control-M.
Change or verify the settings shown below with special attention to the ones marked with red arrows.
Select QuickTime. Initially select HD 720p 24. After all of the changes are made save
The filename is the VIRIN number. (YYMMDD-D-ZZ9990001)
The location is the project’s Desktop folder.
this preset as DIMOC.
You will need to have a VisionID in order to create your VIRIN number.
Specific VIRIN details are available in Appendix G.
KEY SETTINGS
Format: Quicktime
Preset: HD 270p24
Video Codec: H.264
Frame Rate: 29.97
Bitrate Limit: 10,000 kbps
Note: If you have already
created a preset for this
export, simply choose it
and adjust the Output
Name, Location and
Source Range and
Metadata before hitting
the “Queue” button.
We initially use the 720p24 Preset because it has almost all of the correct settings we need. Don’t forget to change the Frame Rate to 29.97 before exporting.
You may need to scroll down the Video tab to find the Bitrate Settings section.
AFN HD Workflow 27
Click on the “Metadata” button to access the Metadata.
Fill in all of the items shown below. This information will be stored along with the video inside of the file and be accessible from Adobe Bridge or Premiere
Twirl down the triangle to reveal fields.
Keywords will be added using the list in Appendix X to the “Subject” field with
commas separating them. You should first select the appropriate keywords from the standard list and then you can add additional ones, if needed.
All of this metadata, including the keywords, will be used by producers to later find and retrieve b-roll for future products using Adobe Bridge.
If you add the DIMOC preset you made to a sequence in Media Encoder queue, you will need to click on the preset to reveal the Export Settings window and the Metadata button.
AFN HD Workflow 28
Details for the selected clips are displayed.
Select from displayed Keywords to find desired video.
Specific instructions for using Adobe Bridge are in Annex B, but essentially producers will be able to search for, preview, and copy needed b-roll and video elements directly into their project’s media folder based on keywords and other metadata.
These archiving procedures can be used for any products but those will be stored in different folders on your SAN.
Additionally, elements or products that will be used again by you or other producers can be stored as a Premiere project folder on your SAN and then merely copied into your Media Drive “Project” folder for use. This would include daily green screen productions, one minute update elements, daily weather and exchange rates as well as spots that have a likelihood of being updated. You would merely create a “Trimmed” project folder from the Project Manager onto your SAN which will have all of your elements and your sequences so you can jump in where you left off.
10. Once your products are completed, exported and archived (including your “prime
cuts”) you are ready to delete the project. Since everything you shot, created, edited and rendered are in the same project folder all you need to do is delete the project folder using Windows Explorer.
AFN HD Workflow 29
Appendix A – P2 Camera Setup/Operation Checklist Panasonic AG–HPX250
1. Read operation instruction and know the location and understand the uses of
controls. 2. Before using the battery, charge it fully with the AC adapter. 3. Turn on the main power, check that the mode lamp CAMERA is lighted red. 4. Close the LCD screen and adjust the viewfinder diopter lever ring until you can
see the characters in the viewfinder clearly. This adjusts the viewfinder to your eyes to ensure proper manual focusing.
5. Select AUTO/MANUAL switch as desired. Green “A” will appear in the viewfinder when AUTO is selected and the focus, gain, iris and white balance will be adjusted automatically.
6. Using the 3.5” LCD check and set the calendar (date/time) and time zone. a. Press MENU b. Select 11. Other functions c. Select CLOCK SETTING. d. Select CHANGE. e. Correct the time & date, if necessary f. Press MENU to return
7. Set FILTER wheel to OFF (CLEAR) for artificial light. Select 1/4ND, 1 /16ND, or 1/64ND for natural sunlight and select the correct amount of neutral density based on the relative brightness.
8. Select the correct position of the ZOOM select switch for either MANUAL focusing using the focus RING or SERVO to use the ZOOM ROCKER.
9. Keep in mind that there is an AUTOMATIC MACRO that that is engaged when you zoom in fully. While the camera can HOLD FOCUS for zoom focusing but IT WILL NOT HOLD FOCUS IF THE MACRO IS ENGAGED when you adjust your focus while fully zoomed.
10. Use the FOCUS ASSIST button to digitally zoom into to subject for fine focus adjustments. This digital zoom is for display only and will not be recorded.
11. Adjust the IRIS control button on the left side of the camera for AUTO or MANUAL control. When in manual mode use the IRIS RING to adjust the aperture of the lens
12. Set auto gain switch on L for normal lighting condition 13. Set shutter to OFF (1/60) unless shooting under florescent lights in which case
you need to set it to 1/100 to match the European power frequency. To adjust the shutter, push the DIAL SEL to select SHUTTER mode. Then push the SHTR/F.Rate dial to switch between OFF or 1/60 (or and number) then dial in the the required shutter speed like 1/100. If you don’t operated the dial it will LOCK again.
14. Adjusting the F.Rate (frame rate) is not recommended for normal operations as it will change how your video is recorded and cannot be undone in post.
15. Set the WHITE BAL switch to A or B then lift and hold the AUTO W/B switch in the up position until you receive an OK in the viewfinder. Adjust Black balance when camera is not used for a long time, when ambient temperature changes greatly or when shutter speed change from off. Press down and hold the AWB to adjust the black balance. Readjust for white balance whenever lighting color temperature conditions change.
16. Verify and/or setup ZEBRA settings from the MENU a. Select 8. DISPLAY SETUP b. Verify the ZEBRA 1 and 2 settings (recommend 70% for Zebra 1 and
101% for Zebra 2.
AFN HD Workflow 30
c. Ensure ZEBRA2 is set to ON. (default is spot) d. Press MENU to return.
17. Set you camera for HD recording using the Menu a. Select 2. SYSTEM SETUP b. Adjust SYSTEM MODE to 720p -59.94
c. Select YES d. Turn off Camera when instructed e. Turn Camera on and again return to MENU > SYSTEM SETUP f. Adjust REC FORMAT to AVC-I100/30PN (Shooting time is approx. 64
min on a 32GB P2 card) g. Press Menu to return
18. Remove the rubber P2 card protector and Insert the 32 GB P2 card securely in to the top of the two card slots, the eject button will pop out. Do not eject P2 card when the access lamp is blinking
19. Format P2 card by a. Set the POWER/MODE switch to ON. b. Turn the POWER/MODE switch to set to PB/THUMBNAIL mode. c. The PB/THUMBNAIL lamp will illuminate. d. Press the MENU button e. Use the arrow buttons to Select OPERATION by pressing the square
middle button. f. Select FORMAT. Note: This will delete EVERYTHING on the card.
20. Switch the Audio CH1 SELECT switch to INPUT 1 for external microphone (XLR 3-pin) recording to channel 1. Switch CH 1 to MANUAL to manually recording external microphone levels. On the handle, switch input 1 to MIC and turn OFF 48v phantom power unless you are using an unpowered external microphone.
21. Switch the Audio CH2 SELECT switch to INPUT 2 for external shotgun microphone (XLR 3-pin) recording to channel 2. Switch CH 1 to AUTO to have the camera automatically adjust the external shotgun microphone levels. On the handle, switch input 2 to MIC and turn ON 48v phantom power for unpowered shotgun microphones.
22. Note INT(L) and INT(R) refer to the built-in stereo microphone. Either of these can be selected and used as INPUT to either channel 1 or 2 if needed.
23. In manual mode adjust input level by rotating channel 1 or 2 AUDIO LEVEL dials. 24. Monitor your audio with a 3.5 mini jack at the upper right corner of the back of
the camera. Use MONITOR SELECT switch as needed and adjust headphone level with MONITOR dial on the left side near the front of the camera.
25. Always test record and playback to ensure your camera is in properly working order BEFORE you going on to a shoot.
Panasonic AG–HPX170
26. Read operation instruction and know the location and understand the uses of
controls. 27. Adjust the hand strap to suit your hand 28. Before using the battery, charge it fully with the AC adapter 29. Ensure lens cap is available and installed.
30. Turn on the main power, close the LCD screen and adjust the diopter lever ring until you can see the characters in the viewfinder clearly. This adjusts the viewfinder to your eyes to ensure proper manual focusing.
31. Using the 3.5” LCD check and set the calendar (date/time) and time zone. a. Press MENU b. Select 9. Other functions c. Select clock set d. Select Yes
AFN HD Workflow 31
e. Correct the time & date, if necessary f. Press MENU to return
32. Set ND FILTER to OFF for artificial light. Select 1/4, 1/16, 1/64 for natural sunlight and select the correct amount of neutral density based on the relative brightness. 1/64 is equivalent to # 4 ND filter.
33. Select AUTO/MANUAL switch as desired. Green “A” will appear in the viewfinder when auto is selected and the focus, gain, iris and white balance will be adjusted automatically.
34. When in manual mode, use the FOCUS switch to choose how to control focusing. Also set the FOCUS RING (FOCUS/IRIS) switch to FOCUS. The camera will focus automatically while you press down PUSH AUTO. Read the manual for FOCUS ASSIST button.
35. When in manual mode use the IRIS button to switch how to adjust the aperture of lens for auto/manual. Turn the IRIS dial to adjust the aperture of lens when in the manual iris mode
36. Set Zoom to manual/servo as desired. 37. Set auto gain switch on L for normal lighting condition
38. Set shutter to OFF (1/60) unless shooting under florescent lights in which case you need to set it to 1/100 to match the European power frequency.
39. For white balance, switch to manual mode. Set the WHITE BAL switch to A. press the AWB button. Adjust Black balance when camera is not used for a long time, when ambient temperature changes greatly or when shutter speed change from off. Press and hold the AWB to adjust the black balance. Readjust for white balance whenever lighting conditions change.
40. Turn on Optical Image Stabilizer (OIS) to reduce the effects of camera shake when shooting by hand.
41. Verify and/or setup ZEBRA settings from the MENU a. Select DISPLAY SETUP b. Verify the ZEBRA 1 and 2 settings (recommend 75% for Zebra 1 and
105% for Zebra 2. c. Press MENU to return.
42. Set you camera for HD recording using the Menu a. Select RECORDING SETUP b. Select 720p / 30PN (Shooting time is approx. 64 min on a 32GB P2 card)
c. Press Menu to return 43. Remove the rubber P2 card protector and Insert the 32 GB P2 card securely in to
the top of the two card slots, the eject button will pop out. Do not eject P2 card when the access lamp is blinking
44. Format P2 card by pressing Mode button on the left rear. a. Press the MENU button b. Select OPERATION c. Select FORMAT. Note: This will delete EVERYTHING on the card.
45. Switch the Audio CH1 SELECT switch to INPUT 1 and INPUT 1 select switch to ON. For external microphone (XLR 3-pin) recording to channel 1. Switch input 1 to MIC by the XLR input.
46. Switch the Audio CH2 SELECT switch to INT (R) for built-in microphone recorded audio to channel 2.
47. Adjust input volume by rotate audio dial cover by clear plastic at the bottom left rear of the camera
48. Monitor your audio with a 3.5 mini jack at the R back of the camera (rubberize cover)
49. Always test record and playback to ensure your camera is in properly working order BEFORE you going on to a shoot.
Panasonic AG–HPX370
AFN HD Workflow 32
1. Read operation instruction and know the location and understand the uses of controls.
2. Ensure the lens lockdown screw is firmly pushed DOWN. 3. Ensure the Lens Flange Back (back focus) thumb screw is tightly turned
clockwise. 4. Before using the battery, charge it fully with the AC adapter verify with LCD
display. 5. Turn on the main power, close the LCD screen and adjust the diopter lever ring
until you can see the characters in the viewfinder clearly. This adjusts the viewfinder to your eyes to ensure proper manual focusing.
6. Using the 3.5” LCD check and set the calendar (date/time) and time zone. a. Press MENU b. Select 11. Other functions c. Select CLOCK SETTING. d. Select CHANGE. e. Correct the time & date, if necessary f. Press MENU to return
7. Set FILTER wheel to #1 (CLEAR) for artificial light. Select #2 (1/4ND), #3 (1/16ND), #4 (1/64ND) for natural sunlight and select the correct amount of neutral density based on the relative brightness.
8. Ensure the MACRO adjustment RING is seated (OFF) unless needed for extreme close up shot. Return to seated position after use to unsure good focus.
9. Use the FOCUS RING to control focusing. Use the FOCUS ASSIST button to digitally zoom into to subject for fine focus adjustments. This digital zoom is for display only and will not be recorded.
10. Adjust the IRIS control switch on the hand grip for AUTO or MANUAL control. When in manual mode use the IRIS RING to adjust the aperture of the lens. In manual mode you can also press and hold the PUSH AUTO button for temporary automatic iris control until the button is released.
11. Set Zoom to MANUAL/SERVO as desired. In MANUAL adjust zoom with ZOOM RING and in SERVO use the hand grip ZOOM ROCKER switch.
12. Set auto gain switch on L for normal lighting condition 13. Set shutter to OFF (1/60) unless shooting under florescent lights in which case
you need to set it to 1/100 to match the European power frequency. 14. Set the WHITE BAL switch to A or B then lift and hold the AUTO W/B switch in
the up position until you receive an OK in the viewfinder. Adjust Black balance when camera is not used for a long time, when ambient temperature changes greatly or when shutter speed change from off. Press down and hold the AWB to adjust the black balance. Readjust for white balance whenever lighting color temperature conditions change.
15. Verify and/or setup ZEBRA settings from the MENU a. Select 7. DISPLAY SETUP b. Verify the ZEBRA 1 and 2 settings (recommend 75% for Zebra 1 and
101% for Zebra 2. c. Press MENU to return.
16. Set you camera for HD recording using the Menu a. Select 2. SYSTEM SETUP b. Adjust SYSTEM MODE to 720p -59.94 c. Select YES d. Turn off Camera when instructed e. Turn Camera on and again return to MENU > SYSTEM SETUP f. Adjust REC FORMAT to AVC-I100/30PN (Shooting time is approx. 64
min on a 32GB P2 card) g. Press Menu to return
17. Remove the rubber P2 card protector and Insert the 32 GB P2 card securely in to the top of the two card slots, the eject button will pop out. Do not eject P2 card when the access lamp is blinking
AFN HD Workflow 33
18. Format P2 card by pressing THUMBNAIL button behind the audio setting cover. a. Press the nearby MENU button b. Use the arrow buttons to Select OPERATION by pressing the square
middle button. c. Select FORMAT. Note: This will delete EVERYTHING on the card.
19. Switch the Audio CH1 SELECT switch to INPUT 1 and INPUT 1 select switch to ON. For external microphone (XLR 3-pin) recording to channel 1. Switch input 1 to MIC by the XLR input.
20. Switch the AUDIO IN CH 1, 2, 3 or 4 as needed for FRONT (camera mic), W/L for internal wireless receiver or REAR for microphones plugged into XLR sockets. SELECT AUTO OR MAN for audio level control.
21. In manual mode adjust input level by rotating channel 1 or 2 AUDIO LEVEL dials. 22. Monitor your audio with a 3.5 mini jack at the lower left corner of the back of the
camera. Use MONITOR SELECT switch as needed and adjust headphone level with MONITOR dial on the left side near the front of the camera.
23. Always test record and playback to ensure your camera is in properly working order BEFORE you going on to a shoot.
AFN HD Workflow 34
Appendix B – Using Adobe Bridge for Finding / Retrieving Media
Adobe Bridge lets you organize the assets you have archived or created. You can preview files, and even add metadata (file information), making the files easier to locate.
Adobe Bridge workspace
The Adobe Bridge workspace consists of three columns, or panes, that contain various panels. You can adjust the Adobe Bridge workspace by moving or resizing panels. You can create custom workspaces or select from several preconfigured Adobe Bridge workspaces.
Application
Bar
Quick Search
Panels
Selected
Item
Thumbnail Size slider
View Buttons
The following are the main components of the Adobe Bridge workspace:
Application bar: Provides buttons for essential tasks, such as navigating the folder hierarchy, switching workspaces, and searching for files.
Folders panel: Shows the folder hierarchy. Use it to navigate folders.
Filter panel: Lets you sort and filter files that appear in the Content panel.
Preview panel: Displays a preview of the selected file or files. Previews are
separate from, and typically larger than, the thumbnail image displayed in the Content panel. You can reduce or enlarge the preview by resizing the panel.
Metadata panel: Contains metadata information for the selected file. If multiple
files are selected, shared data (such as keywords, date created, etc.) is listed
Keywords panel: Helps you organize your images by attaching keywords.
AFN HD Workflow 35
Search for Media
You can search for files and folders with Bridge by using multiple combinations of search criteria.
Choose Edit > Find.
Choose a folder in which to search.
Choose search criteria by selecting options and limiters from the Criteria menus. Enter search text in the box on the right.
o To add search criteria, click the plus sign (+). o To remove search criteria, click the minus sign (-).
Choose an option from the Match menu to specify whether any or all criteria must be met.
(Optional) Select Include All Subfolders to expand the search to any subfolders
in the source folder.
(Optional) Select Include Non-Indexed Files to specify that Bridge search uncached as well as cached files. Searching uncached files (in folders that you have not previously browsed in Bridge) is slower than searching just cached files.
Click Find. Show Subfolder Contents You can specify that Bridge display folders and subfolders in one continuous, “flat” view. Flat view displays the entire contents of a folder, including its subfolders, so you don’t have to navigate the subfolders.
To display the contents of folders in flat view, choose View > Show Items From Subfolders.
Sort Media
By default, Bridge sorts files that appear in the Content panel by filename. You can sort files differently by using the Sort command or Sort By application bar button.
Choose an option from the View > Sort menu, or click the Sort button in the
application bar to sort files by listed criteria.
Choose Manually to sort by the last order in which you dragged the files.
If the Content panel displays search results, a collection, or flat view, the Sort button contains a By Folder option that lets you sort files by the folder where they’re located.
•In List view, click any column header to sort by that criteria. Copy Media
Remember that the HD Workflow dictates that you copy all media that you intend to use on a particular project to its own Media folder within the Project folder BEFORE importing the media into Premiere.
To copy files or folders, do any of the following:
Select the files or folders and choose Edit > Copy.
Right-click the files or folders, choose Copy To, and select a location from the list (to specify a different location, select Choose Folder).
Ctrl-drag the files or folders to a different folder.
AFN HD Workflow 36
Appendix C – Metadata Keyword List When assigning keywords, it essential that we all operate from a common list so needed video can be easily found.
The following is the standard list of keywords that should be used for your “prime cuts” b- roll that is stored on the SAN at your location and the Region. This is not an exhausted list and producers are encouraged to add additional keywords to their metadata as needed.
The keywords are actually listed twice here, once alphabetically and again in logical groups. Feel free to suggest additional “Regional” keywords through your OPS chain for inclusion on these lists.
Alphabetical
Aerial Africa AFRICOM Air Force Aircraft Armor Army Artillery Belgium Ceremony Community Downrange EUCOM Event Exterior
Families Festival Fitness Food Formation France Germany GITMO Holiday Host Nation Humanitarian Infantry Interior
IsraeI Italy
Joint Leadership MARFOR
Marines Medical Military Exercise Multinational NATO NAVEUR Navy Poland Recreation Redeployment Russia School
SHAPE Ships SOCEUR SOUTHCOM Spain Sports Students Summer Transportation Turkey UK Underwater USAFE USAREUR Winter
Logical Groups
Army Navy Air Force Marines Joint Multinational NATO AFRICOM EUCOM USAREUR USAFE NAVEUR MARFOR SOCEUR SOUTHCOM
Africa Belgium France Germany GITMO Israel Italy Poland Russia SHAPE Spain Turkey UK Aircraft Armor
Artillery Infantry Ships Transportation Military Exercise Downrange Humanitarian Redeployment Host Nation Leadership Formation Ceremony Medical Fitness Families
Community Food Recreation School Sports Students Holiday Event Festival Winter Summer Interior Exterior Aerial Underwater
AFN HD Workflow 37
Appendix D – Slates (TV News) 1. All TV news submissions MUST have a 1-second slate
a) Slate starts at 1st frame of video
b) A 2-page slate should be sufficient to contain required information
2. Slate formatting:
a) Background: black
b) Text color: white
c) Font: Arial
d) Font size: 18
e) Length: 1 second
f) Pad before story: 1 second of black between end of slate and start of
story.
g) Minimum 1 second of video head and tail to allow ease of editing
3. Slate contents:
a) Slate Page 1
Line1: VIRIN: Short, descriptive, logical name of the story
Line2: SLUG: Short, descriptive, logical name of the story
Should be consistent with script, e-mail notification, and file
name
Line 3: RUNTIME: Total run time of the actual story.ZZ1
Line 4: PRODUCER: Rank and Full name &VIRIN
Line 5: AFFILIATE: Name of the AFN affiliate or unit, country
Line 6: CONTACT: Reporter/ producer DSN phone number and email
Line 7: LEAD: Short, 1-2 sentence set up/ introduction.
Line 8: TAG: If needed, a short, 1-2 sentence wrap up or extra info
b) Slate Page 2
FONTS:
1) Narrator/ Reporter rank and full name – (Hit time as MM;SS)
2) Interviewee rank and full name, position/title/unit (Hit time as MM;SS)
4. Must include “hit time”- location on timeline where video of soundbite begins.
5. Reporter/ Producer is responsible for ensuring correct font information
Note: Consult the AFN Style Guide for information about correct ranks and
branch styles
AFN HD Workflow 38
6. Slate Examples:
AFN HD Workflow 39
Appendix E – Slates (TV Spots) 1. All TV spot submissions MUST have a 1-second slate that starts at 1st frame of video
2. Slate formatting:
a. Background: black
b. Text color: white
c. Font: Arial
d. Font size: 18
e. Slate Length: 1 second
3. Slate contents:
a. Agency: the client; 5th Signal command, DoDDS, USAFE etc… (if no
agency then it is you i.e. AFNE StationID)
b. Title: the title of the spot (Unique descriptive title for each, no repeats)
c. Date: the spot creation date (when did you complete the spot production)
d. TRT: the total run time (Include the 15 frames of black in calculation - :15, :30, :60)
e. Start: the start date (date spot should start airing). This should be at least 3 days from the day you send the product to HQ.
f. Kill: the kill date (date spot should stop airing) Can’t be TFN, the maximum
time a spot can air is 2 years
4. Slate/spot timeline construction: the total runtime (TRT) of the finished
product will be :17, :32, or 1:02 depending on the original product.
a. 1 second slate
b. 1 second of black
c. 15 fames of black
d. Transitional video fade into spot (Optional and length of fade is
up to you)
e. Actual spot: 14, :29 or :59
f. Transitional video fade out of spot (Optional and length of fade
is up to you
g. 15 frames of black
AFN HD Workflow 40
5. Spot Slate Example:
AFN HD Workflow 41
Appendix E –TV News Script Format
All TV News scripts must be properly formatted to achieve ADA 508 compliance which require transcribing all products and providing closed-captioning. This means scripts need to reflect *exactly* what is heard in the story.
1. All scripts must be in sentence case and NOT in all caps.
2. Scripts must be free of typographical, grammar and spelling errors.
3. All narration used must be provided as part of the script and any deviations from the actual script made during narration need to be corrected.
4. All Soundbites must be fully typed out ("Things like this ... don't cut it.")
5. Ranks need to be spelled out.
6. You include descriptions for music, if used.
7. You should include transcribed natural sound pops, if used.
8. Include font info in all scripts including hit times for fonts.
9. See script examples on next page.
AFN HD Workflow 42
Filename: 150209-RMC-773rd CST Producer: SSgt Ashley Corkins / 314-545-7308 / [email protected] Affiliate/Unit: AFN Europe-Regional Media Center Shoot Location: Kaiserslautern, Germany Target Audience: Army VIRIN: 150209-F-TA303-001 Runtime: (01:21:30) Font information: SrA Ashley Corkins – Reporting (00:03:02) Captain Elisabeth Hesse - Area Defense Counsel (00:10:23) Colonel Steven Spencer –Judge Advocate General (00:22:05) Captain John Thruelsen – Commander, 12 Fighter Squadron (01:00:15) SYNOPSIS: 773rd CST Lane Training SUGGESTED LEAD: Soldiers ready themselves for CBRN incidents. SSgt Ashley Corkins introduces to the only active Army Reserve civil support team outside of the United States. SCRIPT FOR CC: “Dragon 8 to Dragon 2” "We pretty much run them through the gamut as far as chemical biological and radiological hazards.” Soldiers from the 773rd Civil Support Team or CST don their suits as part of their annual lane training conducted by U.S. Army North. This event helps the 773rd CST evaluate and streamline their unit response in the event of chemical, biological, radiological and/or nuclear incidents. “We determine what the radioactive source is, ensure that there are no other hazards… and do what’s necessary to mitigate the known hazards” From site surveys to setting up…these real-world training scenarios require a little extra energy… Soldiers perform an average of about 12-14 hour days over the last week and a half. So, they’re keeping their spirits going they’re highly motivated well trained Soldiers.” The 773rd CST is the only active Army Reserve civil support team outside of the continental U.S. Staff Sergeant Ashley Corkins, Kaiserslautern, Germany.
METADATA:
Contributor RMC
Creator SSgt Ashley Corkins
VIRIN 150209-F-TA303-001
Date 9 FEB 2015 or 20150209
Description/Synopsis Lane training
Subject (Keywords) Date, people, unit, command, country
Title 150209-RMC-773rd CST
Type TV News, Radio News Story
AFN HD Workflow 43
Appendix F – Audio Levels All products must have a consistent audio level to be properly broadcast and viewed either over radio and television or via the web. To accomplish this, AFN has established the following Network standards for audio levels to be followed by all producers.
1. VU Meters: To check and adjust audio levels within Adobe Premiere Pro we use the built-in audio VY meters. To properly and more accurately measure the level, Right-Click the VU Meter adjacent to the timeline and select the lowest Scale, 24dB.
2. When measuring the audio level of a clip or product we use an average measurement, not a peak. This is harder to measure but yields better results.
3. The NETWORK STANDARD for Audio Levels is -6 to -10 dB where the average level is -8dB.
4. You should not let any PEAK audio level exceed -2dB to avoid clipping and distortion.
5. All clips so be adjusted properly to the Network Standard of -6 to -10dB using the levels adjustment.
6. Alternately, you can use either built-in ADJUST AUDIO command to NORMALIZE the clip peaks but be careful as you may not always get the results you expect. See the following tutorial for more details on normalizing: https://helpx.adobe.com/premiere-pro/how-to/normalizing-audio-audition-cc.html
7. Audio Panning: For TV News products all audio should be
provided as SPLIT or DUAL MONO.
a. All audio clips should be mono
b. PRIMARY Audio (SB, Narration, Nat Sound Pops)
are panned LEFT.
c. SECONDARY Audio (nat sound, music, etc.) are
panned RIGHT.
AFN HD Workflow 44
Appendix H – How to Create a VIRIN
VIRINs uniquely identify every image shot by military photographers by using four pieces of information: the date the image was shot, the Service of the photographer, an identification of the photographer, and a sequence number.
Here is an example:
The components of the VIRIN are:
Field 1 — 060515: Date the image was shot (YYMMDD format) Field 2 — M: The Service affiliation or status of the acquirer or originator
A — Army N — Navy F — Air Force M — Marine Corps G — Coast Guard Z — National Guard D — Department of Defense S — Department of State H — Department of Homeland Security O — Other
Field 3 — ZZ999: VISION ID (see below) Field 4 — 001: Sequence number for that day (sequence numbers restart at 001 each day, not each shoot)
The same VIRIN must be used both in the metadata and as the name of the file.
The VISION ID is used as a component of the VIRIN. The VISION ID is assigned to each VI Professional, to obtain a VISION ID the photographer must register via the VI Professional web site, https://vipro.defenseimagery.mil/. The VISION ID is assigned to new photographers at their entry to the Defense Information School. A DoD Common Access Card (CAC) is required for registration.
