Stephanie Tighe

Roles include copying and ingesting rushes, syncing and grouping sequences as well as subclipping out clips using naming conventions in order to use Avid as a GV search database as well as and making complies for the editors to cut with. Exporting AAF’s for PROMO delivery as well as QT movies. This role also involves assisting the producers and editors - working with up to 13 Avids, delivering located layups, cutdown assemblies, ingesting music and contestant media requests on hand as well as finding and handing over shot requests. During live shows my tasks also included working live show nights, communicating with the EVS truck, importing EVS media into Avid, quality checking cameras and sound and then passing that media instantly onto the digital team via their Avid. Trouble shooting jobs included working out why media was offline, relinking or batch importing media and dealing with Avid error messages. I also did some basic uprezing to bring sequences online for PROMO. Finally in this job we also received a lot of media with varying frame rates, codecs and aspect ratios which I was required to ingest - including slow-motion. My work hours across this period were 50-60 weeks and varied from night work to day work depending on shoot days, deliveries, and live shows.

Working in AVID tasks included transcoding, logging, setting disk labels for the online, and assembling timelines. Commonly each scene would be assembled into a timeline chronologically and then after this a selects timeline would be made. In terms of handovers tasks would include, exporting/ compressing, prepping temp VFX to be handed over which would involve relinking the footage to the high resolution format and exporting a high resolution quicktime and a reference quicktime. In Redesign number of different cameras were used which involved using different codecs and frame rates.