Editor Production Workflow

Standardized Step-by-Step Process — All Projects

This workflow is mandatory for every project. Following these steps in order eliminates unnecessary revisions, reduces turnaround time, and prevents billing cycle delays on the client end. Do not deviate from this process without PM authorization.

Step 01 — PM → Editor Handoff

Overview

The PM initiates every project by delivering a fully prepared handoff package. You must not begin any work until this package is received and complete. Everything you need to execute the project is pre-configured before it reaches you.

What the PM Delivers

Why this matters

When colors, fonts, and assets are locked before you open a single tool, you are never making stylistic guesses mid-production. Guesses become revisions. Every revision that could have been prevented by a complete handoff is time and money lost from the billing cycle.

Step 01 Checklist

• [ ] Color palette received (hex codes or swatches)

• [ ] Brand guidelines document received

• [ ] Font files and specifications received

• [ ] Asset library/folder received and accessible

• [ ] PR File received from PM

Step 02 — Editor Requirement Check

Overview

Before touching any tool, open the PR File and read it in its entirety. This is your single source of truth for the entire project. Gaps or ambiguities identified here are exponentially cheaper to resolve now than after production has begun.

What to Audit in the PR File

Project Scope — Confirm deliverable type (explainer, promo, social cut, etc.), duration, aspect ratios, and output specs.

Script or VO — Is there a finalized script or voice-over file? Are timing cues marked? Is there a word count that informs scene count?

Motion Graphics Requirements — Are MoGraph elements required? What type: lower thirds, transitions, full-screen graphics, 3D elements?

Client Budget Tier — Note the budget. This directly determines whether a storyboard is required in Step 03.

Deadlines — Confirm the internal review deadline and final client delivery date.

Revision Allowance — How many revision rounds are included? This affects how precise your first cut must be.

Critical Rule — If anything in the PR File is unclear, missing, contradictory, or appears to be a placeholder: stop immediately and contact the PM. Do not interpret. Do not guess. Every assumption you make here becomes a revision later.

Why this matters

Most wasted production time traces back to an ambiguity that existed in the brief and was never clarified. Reading the PR File in full before starting means you catch scope issues, missing assets, and conflicting instructions while they are still cheap to fix — not after you have already built three scenes around a wrong assumption.

Step 02 Checklist

• [ ] PR File opened and read in full

• [ ] Project scope, deliverable format, and output specs confirmed

• [ ] Finalized script or VO file located and reviewed

• [ ] Motion graphics requirements identified (type and complexity)

• [ ] Client budget tier noted

• [ ] Internal and client deadlines recorded

• [ ] Revision round count noted

• [ ] All unclear or missing information flagged and sent to PM — do not proceed until resolved

Step 03 — Storyboard & Asset Sourcing

Time Budgets

3A — Asset Sourcing

Overview

Search for and download all required live or stock footage during this window. Set a timer before you start. Do not browse endlessly — make fast, committed selections and move on. Asset sourcing must never bleed into animation time.

Recommended sources: Artgrid, Motion Array, Storyblocks, Envato, or client-supplied footage. Download and organize all assets into your project folder before proceeding to 3B.

Why this matters

Open-ended asset sourcing is one of the most common time leaks in production. Without a hard limit, browsing can consume an hour without producing a single frame of output. The 15-minute cap forces decisive selection and keeps your production timeline intact.

3B — Storyboard Creation

When a Storyboard Is Required

A storyboard is only required when one or more of the following conditions are true:

If none of the above apply, skip the storyboard entirely. Do not spend time creating storyboards for low-budget or simple projects — the time cost does not produce a proportional return.

Storyboard Format

Keep it simple. Black and white frames only. Sketch or block the visual composition for each scene: element placement, text position, and key motion direction. You are communicating structure and layout — not final aesthetics.

For basic projects, you do not need to build this in Figma. A rough hand-drawn or plain digital frame is sufficient. Stylization happens in Step 08.

Label each frame using this format:

Scene [number] — [duration]s — [content summary] Example: Scene 3 — 3s — Product feature callout with animated icon entry

Why this matters

Pre-approved storyboards directly reduce revision cycles by locking in visual structure before a single keyframe is set. Even when revisions are needed, the pre-segmented layer and precomp structure you build from the storyboard in Step 05 means you can change one variable at a time with precision — instead of hunting through a flat timeline trying to locate the right layer.

Step 03 Checklist

• [ ] Timer set before beginning asset sourcing

• [ ] All required stock/live footage downloaded and organized in project folder

• [ ] Storyboard requirement evaluated against the three conditions above

• [ ] Storyboard created if required — black and white, scene-labeled, motion-noted

• [ ] Storyboard submitted to PM for approval before proceeding

Step 04 — Storyboard Approval & Parallel Work

Overview

Once the storyboard is submitted to the PM, your work on this project is paused pending approval. Do not begin sequencing until you have written or verbal confirmation from the PM.

Parallel Workflow Rule — While waiting for storyboard approval, immediately switch to another active project in your queue. Idle time between submission and approval is always productive time on something else. Do not wait passively.

When the PM returns feedback they will either approve as-is, request specific revisions, or request a full rework with new direction. Apply feedback precisely and resubmit if needed before moving to Step 05.

Why this matters

Getting storyboard sign-off before sequencing means the PM has committed to the visual direction. Any changes requested after this point are on the PM to justify against scope. Without this gate, editors absorb revision costs that stem from unclear direction — not from execution errors.

Step 04 Checklist

• [ ] Storyboard submitted to PM with scene labels and timing estimates

• [ ] Switched to a different active project while awaiting approval

• [ ] PM approval received — written confirmation preferred

• [ ] Storyboard revisions applied and re-approved if applicable

Step 05 — Sequencing in AE or Premiere

Overview

With storyboard approval confirmed, open After Effects or Premiere Pro and begin building your sequence. Work from the script or VO track — the audio is your timing anchor for every scene.

Sequence Setup Protocol

1. Create Your Composition Match output specs exactly: frame size, frame rate, and duration. Name comps using a clear convention.

Example naming: CLIENTNAME_v01_SCENE03

2. Set Scene Durations from Script or VO Drop in your VO or read through the script. Mark scene in and out points based on spoken content. Duration is dictated by the audio — not by visual preference.

3. Import Assets via AEUX Push your approved storyboard frames from Figma directly into AE using AEUX. This populates your comp with pre-named layers that mirror your storyboard structure.

4. Pre-Segment Layers and Precomps Organize every element into clearly named precomps. One element per precomp where possible.

Example precomp names: BG_Layer / TextBlock_01 / Icon_Entrance

5. Import Stock and Live Footage Bring in all sourced assets and place them in sequence per your storyboard. Trim handles — do not leave excess footage hanging off edit points.

Why AEUX and precomp segmentation matter

When your storyboard layers translate directly into named AE precomps via AEUX, you create a one-to-one map between what was approved and what you are building. If a revision comes in asking to change the icon on Scene 4, you open Icon_Entrance, make the change, and it updates everywhere. Without precomp segmentation, that same revision requires you to manually hunt through a flat timeline — which is slow, error-prone, and compounds with every additional revision round.

Step 05 Checklist

• [ ] Composition created with correct frame size, frame rate, and duration

• [ ] Comp naming convention applied

• [ ] VO or script loaded — scene durations set from audio or script timing

• [ ] Storyboard imported into AE via AEUX

• [ ] All layers and precomps named and segmented by element

• [ ] All stock and live footage imported, placed, and handles trimmed

Step 06 — Animation: Keyframes & Text

Time Budget

Overview

This step is motion structure only. Apply simple, functional keyframes to animate elements on and off screen. Add all text content into the appropriate layers. Nothing else.

Keyframing Rules

Use Position, Scale, Opacity, and Rotation as your primary animated properties. Keep keyframe pairs clean: in-keyframe, hold or transition, out-keyframe.

Apply Easy Ease to all keyframes. Do not spend time on custom graph editor curves at this stage — that level of refinement is not warranted until the structure is locked.

For text: drop in copy from the script verbatim. Use your pre-loaded brand fonts or a placeholder. Do not adjust tracking, color, sizing, or styling. That is Step 08.

Discipline Note — This step is deliberately mechanical. Five minutes per scene forces you to work structurally, not aesthetically. Resist the urge to stylize. Premature stylization before structure is locked is the single biggest cause of wasted revision time.

Why this constraint exists

When stylization happens before structural approval, every revision to structure also breaks your stylization — and you rebuild it. By keeping animation and stylization in separate steps, a structural revision in Step 06 costs you five minutes, not thirty.

Step 06 Checklist

• [ ] All elements have entry and exit keyframes set

• [ ] Easy Ease applied to all keyframes

• [ ] All text content added from script — verbatim and unstyled

• [ ] Timer observed — max 5 minutes per scene

• [ ] No stylization applied in this step

Step 07 — Camera Movement & Transitions

Time Budget

Overview

With animation locked, layer in camera movement and transitions. This is a creative step but it must remain time-boxed. If you are deliberating for more than 60 seconds on a transition, commit to the simplest option and move on.

Camera Movement

Apply camera moves that support narrative flow: slow push-ins for emphasis, pulls for reveals, lateral moves for parallel comparisons. Every camera move must have a clear narrative reason. Decorative camera movement with no content purpose should be removed.

Transition Types

Keep transition style consistent within a project. Do not mix incompatible transition types across a single deliverable.

Why consistency in transitions matters

Inconsistent transitions signal a lack of intentional design to the client and make the overall piece feel unpolished even when the individual scenes are well executed. Establishing a transition system at this step and sticking to it takes the same amount of time as mixing styles randomly — but produces a substantially more professional result.

Step 07 Checklist

• [ ] Camera movements applied to scenes requiring emphasis or reveal

• [ ] Transitions selected and applied at all cut points

• [ ] Transition style is consistent across the full project

• [ ] All camera moves have a narrative purpose — decorative moves removed

• [ ] Timer observed — max 5 minutes per scene

Step 08 — Stylization

Time Budget

Overview

At this point, structure, animation, camera, and transitions are all confirmed. You now have complete context for how every element looks in motion. Apply visual styling efficiently — you are not exploring, you are executing a plan you already have.

Styling Reference

Why stylization is the last step

Every stylization decision you make is informed by watching the motion. You know exactly how fast elements enter, where they land, and how long they hold. Shadows land in the right place because you can see the depth. Glows feel right because you have watched the pacing. Stylizing before motion is locked is guesswork — stylizing after motion is locked is craft.

Step 08 Checklist

• [ ] Layer styles applied per brand guidelines

• [ ] Gradients applied with consistent direction and brand-approved palette

• [ ] Shadows using a consistent light source direction throughout

• [ ] Glow and bloom applied sparingly — no unnecessary decorative use

• [ ] Blur applied appropriately: motion blur on transitions, Gaussian on ambient layers

• [ ] Textures at 10–20% opacity only

• [ ] Light sweeps applied to CTAs, buttons, and logo reveals if applicable

• [ ] Timer observed — max 5 minutes per scene

Step 09 — SFX, BGM & Final Delivery

Time Budget

9A — Export from After Effects

Render your final AE comp as a high-quality intermediate master file. ProRes 422 or DNxHD are preferred formats. Do not render directly to H.264 from AE — always use an intermediate format for the Premiere handoff.

Why not render H.264 directly from AE

H.264 is a delivery codec, not an editing codec. Rendering to H.264 from AE introduces compression artifacts that degrade quality through each additional encode. By rendering to ProRes or DNxHD first, your Premiere timeline operates on lossless data and your final H.264 export is a single-generation compression — producing the highest possible output quality.

9B — Audio in Premiere Pro

Pull the rendered AE comp into a Premiere Pro sequence. Match sequence settings to the output specs confirmed in your PR File.

Audio Levels Reference

Why these specific levels matter

These are broadcast and digital delivery standards, not preferences. BGM at −18 to −20 dBFS ensures the VO sits clearly on top without the music being inaudible. SFX at −12 to −16 dBFS gives impact without competing with the VO. A final mix ceiling of −3 dBFS leaves headroom that prevents clipping when the file is transcoded or played on device speakers. Delivering audio outside these ranges is a revision.

9C — Export & Delivery

Export the final deliverable according to the specs in your PR File.

Name the file using the project naming convention. Upload to the designated delivery folder and notify the PM.

Include in your PM notification: file name, render specs (resolution, format, bitrate), and total runtime.

Step 09 Checklist

• [ ] AE comp rendered as intermediate master — ProRes 422 or DNxHD

• [ ] Master file imported into Premiere Pro on matching sequence settings

• [ ] BGM placed and leveled at −18 to −20 dBFS with fade in and fade out applied

• [ ] SFX synced to animation keyframes and leveled at −12 to −16 dBFS

• [ ] VO leveled at −6 dBFS peak — EQ applied if needed

• [ ] Full playback review completed — no peaks above −3 dBFS

• [ ] Final export completed per PR File output specs

• [ ] File named using project naming convention

• [ ] File uploaded to delivery folder and PM notified with render details

Workflow Quick Reference

Questions or scope changes mid-production: contact your PM immediately. Do not make judgment calls on scope without PM sign-off.