Post Magazine

August 2013

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into Pinewood's internal network so, from the stage floor, production systems supervisor Ben Gervais could set the looks for the dailies with DP Guillermo Navarro and transfer them through Pinewood's network to the data lab." Early on it was determined that a purpose-built system would best serve the film. It needed to handle data management and all dailies processing, which encompassed setting the looks, managing the color files, processing the files to Avid-friendly specs, transferring them to Warner Bros.' internal screener system and doing VFX pulls. Since Pacific Rim was largely a stagebased show the director wanted to get footage to the editors quickly. "At the end of the shoot day, del Toro wanted the offline editors to start working on cuts with that day's footage. So we tied the data lab to offline and VFX editorial to tighten the turnaround," says Parker. SIM Digital supplied several Blackmagic Design DaVinci Resolve dailies workstations, several Avid workstations and separate ISIS shared storage, all tied together, for dailies and data to promote ease of use and enhance security. Ben Gervais wrote custom scripts for the VFX pulls that efficiently sourced shots in the master file and transcoded them to ILM's specs. When shooting wrapped, del Toro remained in the Toronto production offices, working on his director's cut. But when it came time for him to move back to LA for a screening, the question of how fast SIM Digital could move the Avids came into play. The solution was to build a mirrored system for del Toro in LA. "He was cutting in Toronto, took a plane to LA and picked up where he left off," says Parker. "Then editorial shifted to the LA post production offices, which we continued to build up after they decided to postconvert the film to 3D — we beefed up offline by adding 3D Avid workstations and screening monitors." Parker notes that it was important to come to Pacific Rim with "no preconceived plan. We wanted to hear what the show was all about: locations, stage, cameras, editorial needs, ILM's needs. With a blank slate and a lot of discussions we were able to build out a system specifically for their needs. Ben Gervais and dailies producer Jesse Korosi were instrumental in the design www.postmagazine.com This large mocap stage, featuring Vicon cameras, was used to capture hundreds of stunt moves for the zombies featured in World War Z. continued on page 53 Post • August 2013 19

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