Issue link: https://digital.copcomm.com/i/16039
the shot up 200 percent and there is no degradation of the image.The Red allows us a lot of flexibility that some other cameras don’t.The way the Baselight and the Avid talk to each other — if I have to go back in and change a shot, they dump it in the Avid, render into their server, Baselight accesses it and for the most part the color transfers over, with minor tweaking if necessary. It doesn’t bake anything in.You can put 10-12 looks on something on set and nothing is locked in.” POST: Is the look of the show set ahead of time or does it change based on a particular episode? GOLDMAN: “When we are in the houses, the look stays the same, but as the stories grow and they become more inter- twined with different characters, it changes a bit. So the look is set pretty much in the five or six main locations we have. We are shooting in Shreveport, seven-day episodes, which is quick.We’ll do a lot of day for night, and the 4K files help immensely with this cheat. In the cutting room, with the Media Composer, there is a lot of latitude in there with color correction to give us a sense of where we are going to be. Can we do a day for night? Are we going to have to re-shoot this? Let’s see what we can do.The system pops it up,we play with it and if we have it in the Media Composer, I obviously have even more latitude in my Red files.” POST: Speaking of the cutting room, who edits the show? GOLDMAN:“We have three editors: Bill Johnson, Michael Stern and Peter Ellis. Plus, two of the best assistants — Mike Koz and Lauren Schweitzer — I’ve worked with in 20 years.They make everything work and are experts on the Media Composer.” POST: Can you talk a bit more about the editing process? GOLDMAN:“We are cutting in DNx36. For any opticals or color correction, the Media Composer with the various plug-ins is great.The realtime timecode generator is extremely helpful. The system has been completely stable.The biggest issue with any file-based camera is going to be the amount of footage shot, so storage is the only issue. And that is not expensive.” POST: What kind of storage are you using? GOLDMAN:“Avid Unity.4.2.4” The Gates: Editors Bill Johnson, Michael Stern and Peter Ellis use Media Composers and Unity. CalDigit Storage you can trust. “In the wild, bus-powered 1TB VR Minis back up our 16GB CF cards. Multiple 2TB VRs and replacement drives bring our footage in from the cold. Back in the edit suite, the HDOne is our online source for creating RED 4K magic. From field to finish, the best choice… the most reliable choice: CalDigit.” Jennifer & Arthur C. Smith III PolarArt Productions www.caldigit.com For more information on how CalDigit products can enhance your post workflow visit www.caldigit.com.