Our team consists of offline and online finishing editors, colorists, visual effects artists and sound mixers.Collectively, we've worked on narrative and documentary films that have premiered at Sundance, Tribeca and Cannes film festivals; delivered broadcast television and streaming content for HBO, ESPN, Netflix, Hulu, CNN and Discovery; and collaborated with video and multimedia artists at art exhibitions around the world.

Depending on your remote workflow needs:
- The INFRA team securely logs into your work stations after a brief onboarding process.
- We Ingest your media into our server, and the INFRA team logs into our work stations. We collaborate with your team, sharing bins and project files.
- We provide finishing services like encrypted and unencrypted DCPs and broadcast deliverables for distributors.The team can scale up or down depending on your project's needs. Our goal is to provide technical assistance to your creatives and a solid foundation for all phases of post production, and we want it to work well for your specific project.And if you find that you want to sit down in an edit, color or sound suite, we'd be happy to coordinate with one of our vendor contacts. Please reach out and let us know how we can help.

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INFRA Blog

Why Post-Production Media Organization is the Backbone of a Seamless Production Pipeline

2025.03.10

In the fast-paced world of film and television production, the difference between chaos and efficiency often comes down to one key factor: media organization. Whether you’re working on an indie short or a large-scale episodic series, building a well-structured post-production pipeline from day one can save you time, money, and countless headaches. In this article, we’ll explore why media organization is essential and how it impacts everything from dailies to final delivery.1. What Is Post-Production Media Organization?
Media organization in post-production refers to the process of cataloging, naming, storing, and backing up all assets — video files, audio, graphics, metadata, and more — in a clear, consistent, and accessible way. It starts the moment footage comes off the camera and continues through editorial, VFX, color, sound, and mastering.2. Why a Well-Organized Pipeline Matters
• Faster Editorial Turnaround: When assets are properly named and categorized, editors can locate footage faster, saving valuable time in the edit suite.
• Minimized Human Error: Clear labeling and folder hierarchies reduce the risk of misplacing files or overwriting critical elements.
• Streamlined Collaboration: Whether it’s a colorist in another city or a VFX artist across the hall, a standardized pipeline makes handoffs smooth and efficient.
• Future-Proofing Your Project: Months — or years — down the line, being able to locate a specific shot or version quickly can be a lifesaver during re-edits or franchise expansions.3. Key Elements of a Robust Media Organization Workflow
• Consistent File Naming Conventions: Create a system that clearly communicates the scene, take, date, and camera angle.
• Folder Structure Templates: Set up master folders for footage, audio, project files, graphics, and exports — and stick to it.
• Metadata Management: Leverage tagging, markers, and notes during ingest to make files easier to search and sort.
• Daily Syncing and Backups: Adopt a reliable protocol for backing up media to multiple locations to prevent data loss.
• Clear Versioning Protocols: Version control is essential for tracking iterations and ensuring everyone works from the most recent asset.4. From Production to Delivery: Keeping the Pipeline Intact
Media organization isn’t just for post — it begins on set. Camera reports, audio logs, and daily media transfers should feed directly into your post-production structure. Maintaining continuity from capture to delivery ensures editorial workflows stay on track and nothing slips through the cracks when deadlines loom.5. The Payoff: Better Efficiency, Fewer Surprises
When your post-production team isn’t bogged down searching for files or untangling version confusion, they’re free to focus on what matters most — storytelling. An organized pipeline supports creativity by removing friction and freeing up mental bandwidth for the work that truly makes an impact on screen.In an industry where time is money and delivery schedules are non-negotiable, media organization isn’t a luxury — it’s a necessity. By investing in a solid post-production workflow from the very beginning, you’re not just keeping things tidy — you’re setting your entire production up for success.

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How to Prepare Your Adobe Premiere Timeline for Color Grading and Sound Mixing

2025.03.20

Your edit is locked—great! But before you pop the champagne, there’s one more critical step: prepping your Adobe Premiere Pro timeline for color grading and sound mixing. Whether you’re sending your project to DaVinci Resolve, Pro Tools, or collaborating with a finishing house, proper timeline preparation is key to a clean, efficient conform. In this post, we’ll walk through best practices to get your Premiere timeline organized and optimized for a seamless transition into post-finishing.1. Why Timeline Prep Matters
Sending a messy timeline to a colorist or sound mixer is a recipe for frustration, delays, and potential technical errors. Taking the time to clean up your project before exporting for conform ensures:
• Fewer relink issues during roundtrip workflows
• Clear communication across departments
• Faster turnaround times
• A professional, production-ready handoff2. Organize Your Timeline Before Export
Before you touch any export settings, make sure your timeline is editorially clean and logically structured:
• Remove unused clips from the timeline and project bin.
• Minimize track stacking by consolidating clips where possible.
• Label and color-code clips based on type (dialogue, B-roll, effects, etc.).
• Flatten multicam sequences if necessary, especially for color workflows.
• Ensure all media is properly linked and replace any missing or offline files.3. Prep for Color Grading
If you’re sending to a colorist using DaVinci Resolve or a similar grading platform:
• Replace placeholders or proxies with original camera files (or include a reference if using proxy workflows).
• Remove or simplify effects, transitions, and adjustment layers. These often don’t translate well across platforms.
• Export an XML or AAF for timeline translation—XML is typically used for DaVinci Resolve.
• Include a reference video (timecode burn-in + audio) so the colorist can verify accuracy.
• Export audio as a separate stereo mix or stems for sync reference.Pro Tip: Lock your picture before sending to color—changes afterward can disrupt the entire conform.4. Prep for Sound Mixing
When sending your project to an audio post facility or sound designer:
• Split out audio tracks by type (dialogue, SFX, music, ambient).
• Label and organize audio clips clearly with consistent naming conventions.
• Clean up empty or muted tracks.
• Export an AAF (or OMF) for best compatibility with Pro Tools and other audio DAWs.
• Include a mixdown or guide track for timing reference.
• Provide cue sheets or notes if there are specific audio timing needs or effects cues.5. Double-Check Your Settings
Before sending anything out the door:
• Confirm frame rate, resolution, aspect ratio, and timecode settings match your delivery specs.
• Make sure all exported files are clearly labeled and versioned (e.g., “ProjectNameColorPrepv1.xml”).
• Use a consistent naming convention for folders and file structures—it makes a big difference downstream.6. Bonus: Create a Conform ChecklistA simple checklist can help you avoid costly mistakes. Include steps like:
• ✅ Timeline cleanup complete
• ✅ Audio tracks labeled and split
• ✅ Effects removed or noted
• ✅ XML/AAF exported
• ✅ Reference video rendered
• ✅ Delivery folder structuredPrepping your Adobe Premiere Pro timeline for color grading and sound mixing isn’t just a technical formality—it’s a vital part of a professional post-production pipeline. A clean conform saves time, reduces risk, and makes you a better collaborator. Invest the extra time up front, and your colorist, mixer, and future self will thank you.

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