In order to be able to find the footage we were looking for quicker, we organised the raw footage into the days that we went out and filmed and into usable and unusable footage. Having organised footage was useful as it meant that we saved ourselves and the editors time when looking for the footage that was needed. Not only were we able to find the footage of a particular scene that we needed by knowing what day it was filmed on, but we were also able to know what takes were bad and therefore not to import them into Final Cut Pro.
After the footage was organised we then imported the good footage into Final Cut Pro for us to begin the editing process.
We then created a basic timeline of all the needed shots in the right order, having trimmed each shot down to get rid of the director saying "action" and "cut" at the beginning and the end. The timeline was the the film's skeleton, it had all of the story, but it was far from complete. The basic timeline was created through comparing the storyboards to the footage that was filmed and laying the scenes in the correct order. Then from the basic timeline, a more detailed timeline was created. For example, separating the different cuts of the shot, reverse-shot conversations so that the conversation was actually understandable rather than having all of one side of the conversation followed by the whole of the other side of the conversation. The offline edit was created because it is important that the all the story is in the film, creating an offline edit first means that if any scenes that are in the story board have not been put into the timeline, this can be fixed before it is too late. The basic timeline also included audio from the tracks but not any actual sound track or voice-over yet as that would come later in the editing stage. At this point, no colour correction has been completed and some shots may be a half a second or so longer than they will be when the edit is complete as the detailed editing has not happened yet. When producing an offline edit, it is important that the blocked out footage matches the storyboard as it is important for the editor to know what has happened in the previous shot, and what is to follow. Once the offline edit is complete, the rest of the edit can then proceed, additional sound is added, and editing techniques such as colour correction is applied and transitions are added.
In order to be able to find the footage we were looking for quicker, we organised the raw footage into the days that we went out and filmed and into usable and unusable footage. Having organised footage was useful as it meant that we saved ourselves and the editors time when looking for the footage that was needed. Not only were we able to find the footage of a particular scene that we needed by knowing what day it was filmed on, but we were also able to know what takes were bad and therefore not to import them into Final Cut Pro. 
After the footage was organised we then imported the good footage into Final Cut Pro for us to begin the editing process. 
We then created a basic timeline of all the needed shots in the right order, having trimmed each shot down to get rid of the director saying "action" and "cut" at the beginning and the end. The timeline was the the film's skeleton, it had all of the story, but it was far from complete. The basic timeline was created through comparing the storyboards to the footage that was filmed and laying the scenes in the correct order. Then from the basic timeline, a more detailed timeline was created. For example, separating the different cuts of the shot, reverse-shot conversations so that the conversation was actually understandable rather than having all of one side of the conversation followed by the whole of the other side of the conversation. The offline edit was created because it is important that the all the story is in the film, creating an offline edit first means that if any scenes that are in the story board have not been put into the timeline, this can be fixed before it is too late. The basic timeline also included audio from the tracks but not any actual sound track or voice-over yet as that would come later in the editing stage. At this point, no colour correction has been completed and some shots may be a half a second or so longer than they will be when the edit is complete as the detailed editing has not happened yet. When producing an offline edit, it is important that the blocked out footage matches the storyboard as it is important for the editor to know what has happened in the previous shot, and what is to follow. Once the offline edit is complete, the rest of the edit can then proceed, additional sound is added, and editing techniques such as colour correction is applied and transitions are added. 
