Issue link: http://digital.copcomm.com/i/65901
On-Set Post the refining of ideas, which leads to common trends and, ultimately, new standards," says Cioni. "On-set post production and file-based optimiza- tion is our core business. Dozens of simultaneous projects done this way have earned us thousands of on-set post days every year. And with that much experience the tools never stop improving." data entry and syncing; they work adjacent to the Dallas soundstage where the show is shot. "Our engineering staff has worked out a way for them to do color cor- rection remotely," says McClure. "Our facility in LA connects to the system every night after everything's logged, then dailies colorist Troy Davis does the color correction from a color bay TNT's Dallas takes advantage of MTI Film's Remote Control Dailies solution. DALLAS MTI Film (www.mtifilm.com) initial- ly developed its Control Dailies prod- uct as an efficiency accelerator for post facilities, enabling them to pro- cess more dailies. An on-set/near-set version called Remote Control Dailies followed, making its debut at NAB 2011. The pilot for the reboot of Dal- las became the first project to deploy the system; the new Dallas series continues to use it. Remote Control Dailies features "the same software package as Con- trol Dailies, but we've optimized a number of things so they can run concurrently on a single workstation," says Dave McClure. Remote Control Dailies decodes camera files, syncs audio and logs metadata, applies color correction and encodes deliverables. "Each day, after the set up, you ingest media, log, sync and color — the deliverables are made automatically in the back- ground," McClure explains. He provided Remote Control Dai- lies and a staff for the pilot of Dallas, setting up the system in production offices on location in the Texas oil town. Once the show was picked up, a Dallas-area staff was hired for meta- 30 Post • April 2012 www.postmagazine.com at MTI Film. All the deliverables are encoded back in Dallas as he applies his color decisions." This Remote Color Correction means that Davis can collaborate with final colorist Steve Porter at MTI Film. With this process, "Steve was able to direct the look of the show from the beginning," McClure explains. He notes that Remote Control Dailies worked "very much out of the box" for the Dallas pilot. "We only did two minor customizations: they rent- ed a large plasma monitor we incor- porated, and we installed a realtime encoder at both ends to send video in realtime over the Internet back and forth between Dallas and our post facility here in LA." The system is camera agnostic; Arri Alexa was the primary camera for the pilot and the series. "We support all the digital cameras — Alexa ProRes and Red being the big ones in TV today," says McClure. "We also sup- port Arriraw and cameras like Can- on's 5D and 7D, Sony's EX3 and F65, Panasonic's P2 and Vision Research's Phantom. Everything goes onto one timeline — there's no difference in the continued on page 50