Three shoot days came back on separate drives. By Monday the editor needs the sound rolls, a circled take and a late pickup in a project they can cut from.
How Stringout solves this
01
Mixed camera formats and sound rolls need one project
Once the shoot is offloaded and checked, Stringout indexes the ARRI, BRAW, R3D and ProRes footage and its sound rolls on the drives they were copied to. The footage is searchable in one project, and the production’s storage and backups go on as before.
Stringout syncs picture to sound where the timecode or the audio supports a match. Pairs it cannot match are left for an assistant to review before they go into the editor’s sequence.
02
A circled take is useful, but it is not the final select
Stringout reads the director’s circled take from supported camera and sidecar notes. The assistant marks a quieter reaction as a separate select, and both are in the project if the scene is recut.
03
The pickup has to fit the project the editor opens
The late pickup goes into the same project. Check the first assembly against the coverage Stringout flags for review, then send the working sequence to Premiere, Resolve or Final Cut Pro with its named sources and sound. The editor makes the cut and finishing calls there.
The result
Prepared footage and decisions in your NLE
The editor opens organized footage and a working sequence in the chosen NLE. The marked take, the quieter reaction and the late pickup are separate selects, and the assistant checked each one before the handoff.
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