Video Editing Export, Delivery, and Workflow Flashcards

24 sample cards from the Export, Delivery, and Workflow deck

Sampled from the end of the deck, so these are different cards from the ones shown on the syllabus page.

1. What is the difference between hardware (GPU) encoding and software (CPU) encoding for exports?

   Hardware encoding uses dedicated encoder chips on the GPU (NVIDIA NVENC, Intel Quick Sync, Apple media engines) for much faster H.264/H.265 exports. Software (CPU) encoding is slower but can achieve slightly better quality/compression efficiency at the same bitrate. Hardware is preferred for speed; software for maximum quality-per-bit.

2. What is GPU acceleration used for in an NLE besides encoding?

   The GPU accelerates real-time playback of effects, color grading, scaling/resizing, transitions, noise reduction, and debayering RAW footage (e.g., via CUDA, Metal, or OpenCL). Enabling GPU acceleration (e.g., Mercury Playback Engine GPU mode in Premiere) dramatically improves timeline performance.

3. What is VRAM and why does it matter for video editing?

   VRAM is the GPU's dedicated memory, which holds frames and effect data during processing. Higher resolutions and effect stacks need more: roughly $4\text{–}6\ \text{GB}$ minimum for 1080p, $8\ \text{GB}+$ recommended for 4K, and more for 6K/8K or heavy Fusion/After Effects work. Insufficient VRAM causes errors and dropped playback.

4. What are proxies in video editing and why are they used?

   Proxies are low-resolution, easy-to-decode copies (e.g., ProRes Proxy or H.264 at $\frac{1}{2}$ or $\frac{1}{4}$ resolution) of the original media. Editors cut with them for smooth playback on modest hardware, then toggle or relink back to full-resolution originals for grading and export.

5. What is the difference between media cache and render cache?

   Media cache stores conformed audio, waveform, and indexed/decoded media data the NLE builds when importing footage. Render cache (preview renders) stores pre-rendered frames of effect-heavy timeline sections for smooth playback. Both can be safely deleted and will rebuild, and both should live on a fast drive.

6. Why and how often should you clear your media cache?

   Cache files accumulate and can consume hundreds of gigabytes, slow the system, and occasionally corrupt (causing glitches or crashes). Clear it periodically (e.g., monthly or after finishing projects) via the NLE's preferences (e.g., Premiere: Preferences > Media Cache > Delete), or set automatic size/age limits.

7. What do red, yellow, and green timeline render bars indicate in Premiere Pro?

   Green: section is fully rendered/cached and will play back smoothly. Yellow: unrendered but the engine expects to play it in real time. Red: unrendered and likely too demanding for real-time playback — rendering (In to Out) is recommended.

8. List four common fixes for choppy timeline playback.

   1) Lower playback resolution (e.g., $\frac{1}{2}$ or $\frac{1}{4}$). 2) Switch to proxies. 3) Render previews of effect-heavy sections (red bars). 4) Clear/relocate media cache to a fast SSD, verify GPU acceleration is enabled, close background apps, and transcode long-GOP camera codecs to an edit-friendly codec.

9. Why does long-GOP footage (e.g., H.264 from cameras) play back poorly while ProRes plays smoothly?

   Long-GOP (inter-frame) codecs store full keyframes only occasionally and derive the frames between them, so the CPU must decode groups of frames to display one — hard when scrubbing. Intra-frame codecs like ProRes/DNxHR store every frame completely, so each decodes independently, making them far easier to edit.

10. What are dropped frames during playback and what commonly causes them?

    Dropped frames are frames skipped because the system cannot decode/deliver them in real time. Common causes: slow storage read speeds, demanding codecs, insufficient CPU/GPU power, unrendered effects, high playback resolution, or media on a nearly full/fragmented drive.

11. What are the key guidelines for an effective demo reel?

    Keep it short (about $60\text{–}90$ seconds), lead with your strongest work in the first few seconds, tailor it to the type of work you want to be hired for, use licensed music with pacing cut to it, show only work you're proud of (quality over quantity), include contact info, and update it regularly.

12. How should a video editing portfolio be organized beyond the reel?

    Host full-length or excerpted projects on a simple site (or Vimeo/YouTube), grouped by category/niche (e.g., commercials, docs, social), with context for each piece: your specific role, the client/goal, and results. Case studies with before/after or breakdowns demonstrate process, not just output.

13. Why is niching down recommended for freelance video editors?

    Specializing in a niche (e.g., wedding films, YouTube channels, real-estate, corporate) lets you market to a specific client type, build repeatable systems, command higher rates as a perceived expert, and get referrals within that industry — generalists compete mostly on price.

14. What are the three common pricing models for freelance editing and a key trade-off of each?

    Hourly: simple and protects against scope creep, but caps income at your speed and penalizes efficiency. Per-project (flat rate): rewards efficiency and is easy for clients to budget, but risky if scope is underestimated. Retainer: guarantees recurring monthly income for ongoing work, but requires capacity commitment.

15. Why does per-project pricing generally reward experienced editors more than hourly pricing?

    As you get faster, hourly billing means earning less for the same deliverable, while a flat project rate keeps revenue constant — so your effective hourly rate rises with efficiency. It also prices the value of the outcome rather than the time spent.

16. What essential clauses should a freelance video editing contract include?

    Scope of work and deliverables, number of revision rounds included, timeline/deadlines, payment terms (rate, schedule, late fees), deposit requirement, ownership/licensing of the final work and raw files, kill fee for cancellation, and how out-of-scope requests are billed.

17. What is a standard deposit practice for freelance video projects and why?

    Collect an upfront deposit — commonly $30\text{–}50\%$ of the project fee — before starting work. It confirms client commitment, protects against non-payment and cancellations, and funds early work; the balance is due on delivery (often before releasing final un-watermarked files).

18. What is a kill fee?

    A contract clause specifying compensation the client owes if they cancel the project partway through — typically a percentage of the total fee or payment for work completed to date — protecting the freelancer's invested time.

19. What is scope creep and how do you prevent it?

    Scope creep is the gradual expansion of a project beyond the originally agreed deliverables (extra versions, more revisions, added graphics) without added pay. Prevent it with a written, specific scope, a fixed number of revision rounds, and a change-order process that prices any additions before doing them.

20. What organizational habits define an efficient project structure?

    Use a consistent, templated folder structure for every project (e.g., 01_Footage, 02_Audio, 03_Graphics, 04_Project, 05_Exports), consistent file naming with dates/versions, organized bins inside the project, and a project template so setup is instant and anyone can navigate your project.

21. Why are keyboard shortcuts considered one of the highest-leverage efficiency habits in editing?

    Editing consists of thousands of repeated micro-actions (cut, trim, ripple delete, add edit, zoom); replacing mouse actions with shortcuts — including custom mappings for your most-used tools — saves seconds each time, compounding into hours per project. Examples: J-K-L shuttle playback, Q/W ripple trims.

22. What is the 3-2-1 backup rule as applied to video projects?

    Keep 3 copies of your data, on 2 different types of storage/media, with 1 copy stored offsite (e.g., cloud or a drive at another location). For editors this covers original footage, project files, and deliverables against drive failure, theft, and disaster.

23. What is a rough cut versus a fine cut versus picture lock?

    Rough cut: the first assembled version of the full story with pacing and structure but unpolished. Fine cut: refined timing, trims, and structure after feedback. Picture lock: the edit is final and no more picture changes are made, allowing color grading, sound mixing, and captions to proceed safely.

24. What pre-export checklist steps prevent common delivery mistakes?

    Watch the full timeline top to bottom; check audio levels/loudness target and channel mapping; look for gaps, flash frames, and offline (unlinked) media; verify sequence settings match delivery specs (resolution, frame rate); confirm correct in/out range is selected; check captions and graphics spelling; then verify the exported file by playing it before sending.

What this deck covers

Export, Delivery, and Workflow flashcards FAQ