Naming Conventions

4 12 2007

There are as many systems for naming sequences as there are people naming them. I use a relatively simple one for all of my cuts. The first full assembly of the film is called version 100 (v100 in the name), the next is v101, etc. until you actually put it up and screen it. Then I name it v199. The next version after that, the beginning of the director’s cut generally, is called v200. Then for each version of the director’s cut that you’re creating in front of your NLE, you increment that number – v201, v202, v203. Up until you have a full-on screening. I call that one v299.

Then v300, v301 and so on.

This way, I get a good sense of which version of the cut I’m working on and I also know which was the one that we screened for people outside of the editing room.

Scott Janusch, over at Post Production Standards, has an entry in which he gives his system for naming reels that he hands over to the sound and music departments, and it’s pretty good.

Picture Quicktime:
1AB_v01_071130_1064+03.mov

Audio GuideTracks:
1AB_v01_071130_1064+03_DIA.aif
1AB_v01_071130_1064+03_SFX.aif
1AB_v01_071130_1064+03_MUS.aif

Audio OMF:
1AB_v01_071130_1064+03_DIA.omf
1AB_v01_071130_1064+03_SFX.omf
1AB_v01_071130_1064+03_MUS.omf

You can read his explanation of why he likes this system, as opposed to one with a date only.

He also has a really cool visual display of all of the burn-in data that he likes to put on his telecine picture. I’m reproducing it here so you can see just how much material he likes to show.

Frankly, I wonder if this would drive executives absolutely batty, but since producers and execs are now watching dailies more and more from streaming servers I guess that’s not an issue anymore.

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