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April 2013

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images right," he says. "He shot Red at 4.5K widescreen. My computer was hooked straight to the camera with Blackmagic's DeckLink Duo video capture card, so I could watch everything that came through." He tapped RedCine-X Pro for in-depth color grading. "We didn't apply any general LUTs," he notes. "I was told later that they were trying to sell the film from the edit so they wanted it to look close to finished going into the Avid. So Theo and I graded every shot, even different camera angles for coverage. I saved those color profiles in RedCineX and sent them to Jon for dailies creation." Worful, who was located in the camera trailer, put COSMOS through its paces with a dual dailies workflow: ProRes dailies for distribution and DNxHD dailies for the Avid offline, which could be transcoded from Red Raw. "Originally, it was going to be trifold, with H.264 for iPad dailies, but we decided that two on-set workflows were enough," Johnson says. "Jon was quite busy with the two dailies workflows and getting everything backed up." The unique part of the workflow was the in-depth, on-set color correction, he says, and "having editorial in the production office instead of in LA made the dailies work." COSMOS was customized with a 12-core Mac Pro with a 9TB RAID and Red Rocket card; an LTO-5 tape back up for archiving; and five or six G-Tech drives for shuttling to editorial, which was set up in the production office in Ann Arbor. Editorial synced the sound and burned the ProRes files to DVD for those who wanted to screen DVD dailies. Johnson says he handles dailies on-set for some productions, but with van de Sande wanting him to be part of an intensive upfront color grading process, Johnson needed to coordinate with Worful for nearset dailies. "Before Jon could transcode he needed color profiles from me. So I downloaded the footage to my Mac Pro with Red Rocket and then have the drive to Jon to process on the COSMOS. "When Theo took a break he could color correct on my machine, I'd save the look profile and once the scene was done I'd hand it over to Jon. He took the look profile and applied it to the back-up footage then churned out ProRes and DNx files for the dailies." Johnson found the combination of his own DIT cart and Fletcher's COSMOS was "a really good way to go" for a feature with heavy on-set color needs. "It proved to be invaluable," he says. "COSMOS even managed all the information for the Love and Honor EPK." COMMERCIALS DIT Samuel Gursky, who's with Irving Harvey ( in New York City, deploys his all-in-one, portable DIT Station Rogue for all commercials and The COSMOS music videos that he works on. on-set solution "I show up, plug in my Rogue and a Sony from Fletcher was OLED monitor, and wait for the first lighting used on the film set-up," he says. "The DP rolls off a test shot Love and Honor. with a color card and we sit and develop the look together; then, depending upon the camera, we'll load a LUT into the camera or just use it to process all of the dailies/edit files once I get them. That's generally how I utilize the time I save not having to run cables and lug a massive tower around." The footage is always imported first to Rogue's internal RAID, continued on page 52 where it's archived for several weeks; master and back-up copies are offloaded for the client. Gursky coordinates with the post production supervisor to deliver the files required for a particular job. "Some people don't want to see Raw files, which is a shame because they're pretty powerful," he says. "I offload ProRes 444 for VFX compositing or offline color grading. For an end-point online workflow I offload ProRes 422 LT or Proxy with first-light color attached for editorial. This said, it's obvious that I work mainly with people cutting in Final Cut Pro, but all of this applies to corresponding flavors of the Avid DNxHD codecs." He notes that quick-turnaround commercials usually don't demand viewing dailies. "People watch dailies with editorial," he explains. "If they wanted viewing dailies I'd suggest using the Light Iron Todai25 Years of Powering Highlies & Live Play apps, which I have tested and love. They Performance Workflows stream H.264 over a wireless network and work like a For over 25 years ATTO has been a pioneering leader charm, but nobody has asked behind the capturing, editing, storing, managing and for that yet." distribution of content for the leading broadcasters Gursky's on-set color work and post-production studios around the world. varies depending upon the camera used. "Red shoots typiSee ATTO's leadership in action at NAB 2013 as it enables cally have me doing a first color over 70 industry-leading partners' solutions. to generate an RMD for live preview in camera, but shoots that I've worked on with the Powering the World's Networks and Storage Canon C300 or Arri Alexa often have me doing first look Post0413_022-24,26-27-On setRAV4FINALREAD.indd 27 Post • April 2013 27 3/27/13 3:47 PM

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