Post Magazine

April 2013

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Instant Gratification A look at the on-set/near-set dailies process. By Christine Bunish The New Normal gets "The Ryan Murphy workflow," says Magno owner Stan Cassio. With so many feature films, TV series and commercials shooting digitally, on-set and near-set dailies and color solutions are in demand by every facet of the industry to streamline workflows and "pre-load post" for greater efficiencies down the pipeline. THE NEW NORMAL LA-based Mango developed a near-set dailies solution for television and features two years ago and introduced it when the tsunami in Japan left Hollywood largely without tape stock. "We'd been working with Disney and Fox to design tapeless workflows, and when no tape stock was available after the tsunami, they asked if we were ready to roll it out for their shows," recalls Stan Cassio, who owns Mango ( and New Edit, which provides editorial equipment. In addition, Mango was a partner in creating what's been dubbed "The Ryan Murphy Workflow" for the writer/producer/creator of Glee, American Horror Story and The New Normal. "Ryan and his crew are very innovative," says Cassio. "They need efficient, costeffective solutions. Ryan's team, Alexis Martin Woodall and Brad Buecker, and I came up with a customized workflow." The New Normal, which shoots on Arri Alexa, is a Murphy case in point. The show's data manager exports the camera's SxS cards to a back-up copy and a hard drive; the latter is taken to Mango's near-set solution for dailies. Mango typically "sets up shop wherever offline editorial is," says Cassio. "Once we get the drive, we ingest it into the system and, for redundancy purposes, copy it to the local SAN and the ISIS they're tied to. Then we begin to sync dailies." The dailies colorist applies the color pre-approved by DP Carlos Gonzalez and other decisionmakers on the sitcom. "We work closely with the DP to ensure that the color he sees on-set translates to near-set and final color," he explains. "The New Normal likes to bake in color, so they go to final color with this as the starting point. When we're transcoding, we simultaneously process DNx36 and DNx175 with baked-in color." Mango also generates the files required for DVD protection copies and remote viewing, and uploads files to Sample Digital or other proprietary studio servers, which deliver Internet dailies to execs. "Once editorial locks the picture, we connect to DNx175 renders, which relink to high-resolution images for Encore Video's DI and final color. Should a show need it, we can generate VFX files in the formats required," he adds. Mango ultimately archives completed shows to LTO tape. 22 Post • April 2013 Post0413_022-24,26-27-On setRAV4FINALREAD.indd 22 3/27/13 2:04 PM

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