Post Media Safety Guide V1

FX6 Post / Media Safety Guide V1

Extraction from FX6 Cine EI Muted-Color Shooting System - Working Baseline

Control Note: Derived extraction document. Source project: FX6 Final Audio Settings + Cine EI Muted-Color Shooting System. Source document chain: Canonized Master TOC and Handbook V1.0 plus current Working Baseline used as extraction source. Canon source untouched. Operational audio setup is deferred to the external FX6 Audio Field Setup Guide. Pages 381-384 of the working source are ignored for extraction work.

Control Item	Status / Use
Purpose	Protect camera originals, audio originals, clip identity, proxy workflow, and final archive.
Scope	Card/reel identity, full-card offload, verification, two-backup rule, Resolve/Premiere import, proxy tracking, and final archive.
Primary refs	File/post workflow Chapters 31-40, pp. 259-339 and Appendices I-K.

Master Field Rule: Expose cleanly. Light selectively. Monitor accurately. Record clean S-Log3. Grade carefully. Do not underexpose S-Log3 to create mood.

Manual Table of Contents

Section	Title
1	Core media doctrine
2	Naming and identity system
3	Before the shoot
4	On-set logging
5	Offload procedure
6	Verify before format
7	Folder structure
8	Resolve / Premiere import
9	Proxy workflow
10	Archive package
11	Emergency warnings
12	Source map

1. Core Media Doctrine

Rule: Do not rely on camera filenames alone. Do not rename camera originals casually. Do not flatten card contents. Verify before formatting.

Media safety is not paperwork for its own sake. It is the map that keeps footage, sound, scenes, cards, and post-production from becoming confused.

Risk	Safety control
Same or repeating camera filenames	Use reel ID, physical card ID, unique clip ID, and logs.
Flat folder of loose MXF files	Copy and preserve full card structure.
Card formatted too early	Require verified primary copy plus second backup.
Audio separated from picture	Use clip logs, audio routing codes, and audio original folders.
Proxy confusion	Track proxy creation status per clip.
Project lost after edit	Archive originals, audio, project files, logs, exports, and LUT/settings notes.

2. Naming and Identity System

Identity item	Meaning	Field rule
Project code	Short production identifier.	Use consistently in folder/log names.
Physical card ID	Label on the actual media card.	Do not treat it as the same thing as a reel ID.
Reel/offload ID	Folder and post identity for a copied card/offload.	Use consistent reel folder format.
Camera clip name	FX6 file-level name.	Do not rely on it alone; do not casually rename originals.
Unique Clip ID	Reel ID plus camera clip identity.	Use in logs and post notes.
Settings card label	FX6 SETTINGS - DO NOT FORMAT.	Keep settings media separate from footage behavior.

Do-Not-Do Examples

Do not dump all clips from multiple cards into one folder.
Do not split camera-original folders into arbitrary chunks without preserving a full-card master.
Do not format cards before backup status is complete.
Do not assume audio clips will be obvious later without logs.
Do not rename camera originals as a shortcut for organization.

3. Before the Shoot

Category	Check
Camera/media	Batteries charged; cards backed up before formatting; settings card labeled; ALL/User/Scene files and LUTs ready.
Storage	Primary offload drive plus second backup drive available; card reader/cables tested.
Folder plan	Project root, camera originals, audio originals, proxies/cache, exports, logs, and settings/LUT notes prepared.
Logging	Clip log or paper log ready; marker/pen; slate; project code; physical card IDs; reel naming plan.
Audio originals	Plan where RØDE onboard/boom/external recorder files will be copied and linked to picture.

Night-before rule: A missing folder plan becomes a post-production problem. Build the map before the card contains irreplaceable footage.

4. On-Set Logging

Log field	Use
Project code	Identifies production across camera, audio, and post folders.
Date	Separates shoot days and supports archive search.
Reel ID	Connects card/offload folder to post bin.
Physical card ID	Confirms which card was used and backed up.
Camera clip name	Preserved as camera original identity.
Unique Clip ID	Primary human-readable clip reference.
Scene / shot / take	Supports editing and review.
Audio routing code	Identifies lav/boom/split/post sync expectations.
Status notes	Circle take, bad focus, bad audio, room noise, playback checked, proxy created.

During-Shoot Logging Rule

Log problems when they happen; memory is not a media-management system.
Mark playback-reviewed takes.
Record audio routing notes before post has to guess.
Record backup status before formatting becomes a question.

5. Offload Procedure

Stage	Action
Before copying	Confirm reel/card ID, source card, destination folder, available space, and backup drive.
Copy	Copy full card folder structure to the reel/offload folder.
Do not alter originals	Do not rename, trim, flatten, or reorganize the camera-original folder.
Audio originals	Copy RØDE onboard, Tascam/boom, or external recorder files into audio-originals folder with matching date/reel notes.
Log	Record source card, destination, copy time, clip range, and operator notes.
Second backup	Duplicate to independent backup before media is considered safe.

Offload rule: Copy full card. Verify. Make second backup. Log. Format only after confirmation.

6. Verify Before Format

Verification item	Pass condition
Full-card structure	Expected folders are present; copy is not a flat pile of clips.
Clip count / size	Copied content is plausibly complete against card contents.
Playback sample	At least representative clips open and play.
Audio linkage	Audio originals copied and identified if separate from camera.
Backup 1	Primary offload complete.
Backup 2	Second independent copy complete.
Log	Reel/card/clip/backup status recorded.
Format decision	Only after backup status is complete and verified.

Format Stop Test

Do you have at least two copies?
Do both copies preserve full-card structure?
Can you identify which physical card and reel they came from?
Are audio originals accounted for?
Is backup status recorded?
Can you afford to lose the card now? If not, do not format.

7. Folder Structure

Use a structure that separates camera originals from backups, audio originals, proxies/cache, project files, exports, logs, and settings notes. The exact folder names can vary, but the categories should not be mixed.

Folder	Purpose
01_CAMERA_ORIGINALS	Full card structures, organized by reel/offload ID.
02_AUDIO_ORIGINALS	RØDE onboard recordings, boom recorder files, room tone, external recorder files.
03_PROJECT_FILES	Resolve/Premiere project files and project backups.
04_PROXIES_CACHE	Proxy/transcode/cache files if retained.
05_EXPORTS_REVIEW	Review exports separate from final exports.
06_EXPORTS_FINAL	Final deliverables.
07_LOGS_NOTES	Excel/Word/paper log scans, slate notes, continuity notes.
08_SETTINGS_LUTS	ALL/User/Scene files, LUTs, settings notes.
09_ARCHIVE_MANIFEST	Final archive inventory and verification notes.

8. Resolve / Premiere Import

Task	Rule
Import	Import full reel folders; do not flatten media from multiple cards.
Bins	Build bins by reel, scene, shoot day, audio, proxies, selects, and exports as needed.
Audio inspection	Inspect channel layout before editing. Muting a whole event does not prove channel separation.
Two-transmitter split	Confirm TX1/TX2 mapping before cutting.
Boom/lav organization	Keep boom/lav naming and sync notes visible.
Solo CH1 mono centering	Center mono audio intentionally rather than assuming it will behave correctly.
Post-import checklist	Confirm media, audio, picture, and proxy status.

9. Proxy Workflow

Shoot high-quality originals. Edit with proxies if needed. Keep proxy status traceable.

Proxy task	Rule
When to proxy	Use proxies when originals are too heavy for smooth editing or storage/cache workflow requires it.
Proxy resolution	1080p proxies are often a good editing compromise; 720p may be acceptable for light review workflows.
Tracking	Use Proxy Created field so clips are not missed.
Relink discipline	Keep originals untouched and proxies associated by project workflow, not random filename guessing.
Grade/export	Grade and export from originals or correct high-quality media path, not accidental proxy-only output.

Unique Clip ID	Proxy Created
A001_C0001	Yes
A001_C0002	Yes
A001_C0003	No

10. Archive Package

At the end of the project, archive the complete production system, not only the final video file.

Full camera originals.
RØDE onboard audio.
Boom/external audio.
Room tone.
Excel log and/or Word log.
Paper log scans if used.
Resolve/Premiere project files.
Final exports and review exports.
LUT/settings notes.
Relevant proxy files if desired.
Archive manifest showing what was preserved and where.

Reel	Backup 1	Backup 2	Verified
A001	Yes	Yes	Yes
A002	Yes	No	Pending

11. Emergency Warnings

If this happens...	Immediate action
Card not backed up but someone wants to format	Do not format. Complete two-backup verification first.
Only loose MXF files were copied	Return to source card if available and copy full card structure.
Camera filenames repeat	Use reel/card/unique clip ID system and logs; do not depend on clip names alone.
Audio files cannot be matched	Use date/time, slate, waveform, logs, and routing notes before reorganizing.
Drive space is low	Stop and plan storage. Do not split original card folders casually.
Project files scattered	Consolidate into project folder structure and archive manifest.

12. Source Map

Topic	Handbook source area
Pre-shoot / shoot-day workflow	Chapters 29-30, pp. 241-258.
File naming and logging	Chapters 31-35, pp. 259-296.
Offload and backup	Chapter 36, pp. 297-307 and Appendix J.
Large card / storage management	Chapter 37, pp. 308-313.
Resolve/Premiere import and audio-channel workflow	Chapter 38, pp. 314-321 and Appendix K.
Proxy, storage, archive planning	Chapter 39, pp. 322-331.
Created deliverables and templates	Chapter 40, pp. 331-339.
File naming quick reference	Appendix I.
Ignored pages	Pages 381-384 excluded by project instruction.