What a take records

The editorial fields

Field	What it’s for
Take number	Which take of the setup. Matches the slate.
Shot label	The shot it belongs to: 4A, 4B.
Camera angle	Which camera, on a multi-camera setup.
Rating	1–10. For sorting a setup without rewatching it.
Circled	The select. What post starts from.
Notes	Why it’s good, or what’s wrong with it.
Status	Where the upload is: pending, uploaded, or failed.

The technical fields

You rarely set these by hand; they are read from the media on import. They matter because they’re what a conform depends on.

Field	Why it exists
Timecode	The take’s source start timecode, read from the media rather than assumed to be zero. Without it an NLE cannot relink to the camera original.
Frame rate	Stored as an exact fraction rather than a decimal. 24000/1001 is not 23.98, and rounding it is how a conform drifts a frame over a ten-minute reel.
Variable frame rate	Phone footage is frequently VFR. When it is, the per-frame presentation times are stored too, so an edit against it stays frame-accurate.
Reel alias	A short, stable, per-project reel name. EDLs and older conform tools cap reel names at eight characters, so one is generated deterministically rather than truncating a filename and hoping.
Duration and dimensions	Length, resolution and whether there’s an audio track.

Reference audio

A take can be audio rather than video: a reference recording for a scene, or a specific character’s lines. It’s the same record with a different media type, so reference audio sits alongside the picture it belongs to instead of in a folder somewhere.