Issue link: https://digital.copcomm.com/i/1359892
42 C I N E M O N T A G E T E C H simply behind the glass, allowing me to focus on the sound and the performers." As with in-studio recording, using a simple tab Delimited file of the cues, the mixer moves through the list and the ADR system displays the dialogue, cue, and take numbers superimposed over the picture, as well as sets the in-points for the beeps and streamer. The picture and production guides are streamed to the performer and editor, so no content is loaded onto the remote rig. This allows for last-minute changes and additions, plus provides the ability to establish a long-term remote setup that doesn't need to be updated or managed. And along with the Pro Tools master record- ings at WB, there are backups created locally on the remote system. All of the WB ADR workflow features are available to the ADR…At A Distance rigs — everything from updates to the on-screen dialogue, automatic line sam- pling for parrot recording, a dedicated fill sampler for playbacks, one button wild-take syncing and futzing, and fully customizable matrix for the actor and editor feeds. One major benefit for the actors is the ability to easily add multiple streamers within a cue to assist with dif- ficult timing. The sound and post teams monitoring remotely can hear and see all of this as well, and they can commu- nicate directly with the performers and the mixer. "Virtually every aspect of the ADR automation can be customized for any given situation or preference, and with the ability to control multiple remote rigs simultaneously, even in a pandemic we are able to continue recording ADR with both loop groups and solo performers," said Treadwell. Autodesk's Flame 2020 for finishing/coloring Christopher Doyle, a Flame finishing editor for Universal Pictures Theatrical Marketing Group, chose Autodesk's Flame 2020 (www.autodesk.com/flame) as his top tool. Doyle's day-to-day in- volves editing and polishing domestic television and digital market spots for Universal Pictures' films like "The Voy- age of Dr. Doolittle," "The Invisible Man," "Black Christmas," "Yesterday," "Us," and so on. B e c a u s e D o y l e w o r k s o n s p o t s d e s t i n e d fo r te l e v i s i o n m a r ke ts, h e h a s t o m a k e s u r e t h e i m a g e s m e e t specific standards set by the networks, f i l m m a ke rs, s t u d i o s, a n d t h e M PAA before being broadcast. This typically means removing or obscuring offensive elements like blood and partial nudity/ skin, but occasionally it includes remov- ing brand images or product placements too. "Spots are sometimes created and aired very quickly, so it's important to be able to move fast and do certain types of tracking/roto work in addition to mas- tering and delivery. Autodesk Flame is a great box to use," he said. A u t o d e s k ' s F l a m e 2 0 2 0 o f f e r s s e v e r a l i n n o v a t i v e t o o l s t h a t h e l p Doyle concentrate on the job at hand. F o r i n s t a n c e , F l a m e 's A I m a c h i n e learning and the advancement of the tracking system, especially the planar tracker, are particularly useful when working on blood-soaked scenes — with bloody wounds on bodies, pools of blood, or blood splatters that need to be re- moved or desaturated. Doyle said, "When I saw early demos of Flame's AI machine learning at NAB years back, I could see how people's eyes would just widen with amazement at the possibilities. The balance is learning when and how to use it effectively, not just using it to 'use it' and hope you get your result done with one click. Even today, there is no magic button that does it all. The 'Hollywood magic button' just doesn't exist." Working with the Image toolset, Doyle uses selectives to isolate what he wants to modify and then processes that with color grading shaders, or with gmasks for image grading, correction and relighting. "I often use different shaders for beauty (Crok/A2 Beauty), and a certain mix of others for doing processes such as wire removals, blood de-saturation and image removal/blurring," he said. "Working with different shaders is cool for some light beauty fixes, but can quickly make images look flat and plasticky. At first you may be impressed that you painted out a zit, but people forget that in the moving image you have the grain, shadows, and Autodesk's Flame.