Issue link: https://digital.copcomm.com/i/121914
Instant Gratification After Earth is one of the recent projects The Creative-Cartel has done using on-set/near-set dailies and incorporating their own Joust software. from Spicer's work on-set were pulled into the systems and duplicated. All of Spicer's prep and his interaction with Deming, Nguyen and Marsh — the color work, stereography, logging, project metadata — became the starting point for the NextLab software in the post environment. There, color was applied, QC was performed, archiving was done and deliverables were made. The NextLab systems pulled in all the media from puppet cameras, VO booth cameras and witness cameras, which amounted to 10-15 other types of file formats. All of the Red files and these additional media files were pushed onto network storage, and 2D and 3D dailies were made for editorial, the viewing team and VFX. Since Avid Media Composer V.6, which bakes in side-by-side 3D images, was not available yet, multiple deliverables were required. Oz the Great and Powerful was the first major 3D project to use NextLab, and stereo 3D added complexities to the process with more LUTs, more data, more viewing environments and more deliverables. Two shifts processed data, Livdahl recalls. "They had to keep up with the dailies and deliverables. Sometimes [director] Sam Raimi and [editor] Bob Murawski, ACE, wanted to look at dailies that night or at lunch the next day." Livdahl found NextLab to be a "very flexible and customizable" on-set and near-set dailies and color solution. "When we started with Oz, we kept asking, 'How are we going to do this?' Looking back two years later, a flexible and customizable system has to be the standard going forward, especially with the amount of data and file formats that we are dealing with. Now, the question is how do we do this for the next film given all the new digital cameras and their file formats, the buzz about high frame rate (HFR) and the amount of storage that is required? "Oz was a walking experiment for us in the beginning. We were trying to establish a new way to streamline a digital film. The steps we took with Oz will be a model for us going forward." LOVE AND HONOR The just-released Vietnam War-era drama, Love and Honor, directed by Danny Mooney and starring Liam Hemsworth, was shot on location in Ann Arbor and Ypsilanti, MI, on the Red One camera by Theo van de Sande, ASC. Grand Rapids-based Peter Johnson was the DIT; loader Jon Worful manned the COSMOS (Convenient On Set Mobile Solutions) from Fletcher Camera & Lenses, which has offices in Chicago, Detroit and New Orleans, for dailies creation. Johnson's primary duty on-set was using his own DIT cart to color correct one-lights. "I had to get the technical part of Theo's EFFICIENTLY CONVERTED HDMI to HDSDI Converter www.doremilabs.com Post0413_022-24,26-27-On setRAV4FINALREAD.indd 26 HDSDI to HDMI Converter Scaling Genlock AES Audio Remote Control Frame Rate Conversion 3/27/13 2:05 PM