Power flickers (construction outside). Alex’s auto-save (set to 5-minute intervals, per Module 9: Disaster Recovery ) recovers everything. The backup drive contains the project file, proxies, and original media in a consolidated folder.
Sam calls: “Can we add lower thirds for each new speaker and remove the old interview clips?” Alex uses Module 5: Asset Version Control — duplicates the timeline, labels it PROJECT_NAME_v4_CLIENT_NOTES , and stores the old version in an “Archives” bin. No risk of losing prior work. avgp-111
Jordan asks, “How are we matching the Sony A7S III, FX6, and iPhone footage?” Alex recalls Module 7: Color Management . Alex applies a technical LUT to the Sony clips to match Rec.709, then uses a Color Match tool with a reference frame from the FX6. iPhone footage gets a slight saturation and gamma adjustment. A quick side-by-side on a vectorscope confirms alignment. Power flickers (construction outside)
Alex nods, remembering . Instead of importing 400 GB of 4K footage directly, Alex creates proxies (ProRes LT, 1920x1080). Within 15 minutes, editing begins smoothly on a laptop. Sam calls: “Can we add lower thirds for
Show airs. No glitches. Alex adds a “Project Cleanup” note (from Module 13 ): delete unused media, collect assets into one folder, write a short log for future editors. Takeaway (for AVGP-111 students) Following the course’s workflows — proxies, color matching, version control, safe renders, and backup habits — turns a potential crisis into a routine save. AVGP-111 isn’t about perfection; it’s about reliable production under pressure.
