Issue link: http://digital.copcomm.com/i/990701
46 CINEMONTAGE / Q2 2018 log nine- to ten-hour shoots, times an average of 20 cameras, because auto- ingest grabs the proxies very quickly. For logging it, we have a run notes sheet with time code." Most challenging, he says, is the grouping of all the clips: "We are organizing the groups, B-roll and competitor interviews for the editors, or they'd spend hours searching for things. We also split up groups by the hour and sub-group for each individual in the run." Transcoding, organizing and storing this massive amount of data is the job of lead assistant editor Matt Parcone, who's in charge of workflow. He is tasked not only with storing the masters, but all the raw footage that didn't make it into the master. "On any other show, if it didn't air, it doesn't exist," he says. "That is not the case on our show. We are shooting with up to 28 cameras, so we're referencing mountains of footage that needs to be available at a moment's notice." Parcone devised an Avid ISIS- based storage system that divides up the types of footage for which an editor might search. "Our hometown packages get written to a drive that stays on our main server," he explains. "The external system I created lets us plug in certain drives to retrieve material from past seasons." Parcone, who has been on the show since Season 6, relies on his expertise to determine where footage from the current show should reside. "I'm already looking to Seasons 11 and 12, although we're on Season 10," he adds. "I have to get my team to think a little more into the future and plan where the footage should be stored before it gets ingested." New this season is footage from 10- bit cameras. "We run most of it through Blackmagic Design's DaVinci Resolve to apply LUTs, put that onto our RAW drives on the ISIS, and then transcode from there," Parcone reveals. "We ordinarily would go to DNx145 but now we're going to DNx220s when we up-rez because of the 10-bit." The lead assistant also has to transcode footage from a wide range of cameras, including Canon Mark IIs, GoPros, a "Falcon Cam," Sony XDCAM EX3s and lipstick cameras, as well as the high-speed footage from the Sony FS-700, which is used for slo- mo sequences. From the competitors, the team gets old home movies, phone videos and other footage with different frame rates and resolutions — all of which are transcoded into a high- resolution version via software. Matt Parcone. Alejandro Hurtado.