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Storage Supplement 2015

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12 STORAGE SOLUTIONS MARCH 2015 STORAGE SOLUTIONS AVID EVERYWHERE FIRES UP POST ON THE HUNGER GAMES: MOCKINGJAY PART 1 BOSTON — Building to the climax of the film series based on the bestselling novels of Suzanne Collins, The Hunger Games: Mockingjay Part 1 sees the return of The Hunger Games: Catching Fire director Francis Lawrence. Supporting the director once more was Catching Fire's editor Alan Bell, who shared cutting room duties with Mark Yoshikawa. The two veterans worked together using a highly-collaborative process that took advantage of Avid's MediaCentral Platform. Avid Artist Suite's Media Composer | Software and Avid Storage Suite's ISIS shared storage system proved invaluable in a testing, time-pressured workflow that saw the two editors contend with two films simultane- ously, as scenes for both were filmed back-to-back. "We divided the scenes to edit as they were being shot," says Yoshikawa. "If I was ready for another scene, I would start on the footage shot the previous day. As strings of sequences began to come together, Alan and I would tend to focus on scenes that fell within our sections. However, in the end, we both worked on each and every scene together. We had nine or 10 Media Composers hooked up to the ISIS, including the editors, assistants and VFX editors. It was vital in helping us instantaneously share our edits with each other and let the assistants turnover new reels to sound, music and VFX in a very timely manner." The team had a cutting room set up throughout the shoot connected to an ISIS system with two systems in Europe. "Each of these systems were using their own storage but ISIS's open infrastructure made it easy to keep the home base system up to date while I worked with the director in Europe," explains Bell. "There were even times where I was cutting with the camera taps and sending those scenes back to LA to be confirmed for VFX turnovers. This was all possible because of the enormous flexibility of Media Composer and ISIS." "How vital Avid was in the collaboration became obvious when working on the climactic rescue sequence near the end of the film," says Yoshikawa. "Due to the schedule, Alan was in Europe with pro- duction and I was in our permanent editing rooms in LA. Francis wanted to nail down this section, so Alan and I alternated turns taking passes at the sequence. Because of the time difference between LA and Berlin, we were able to bounce cuts back and forth around the clock. When Alan finished his night in Europe, his assistant would send his bins to us in LA. When I got into work in the morning, I would open his bin, read his notes and take a pass at it myself. That night, the process would repeat in the opposite direction. It was very inspiring." Once they were all back in LA, they worked together to lock the cut and communicate with sound, music and VFX. "The shared projects and storage allow a whole support team such as our assistants and VFX editors to help us along by updating VFX shots and adding sound work, as well as audio mixed by our sound and music team," says Bell. "The media management and organizational features within the Avid platform provided the tools needed for our excellent assistant editors," concludes Yoshikawa. (L-R) Yoshikawa and Bell EDITSHARE ANNOUNCES FLOW 3.2 BOSTON — EditShare ( has announced Version 3.2 of Flow, the company's media asset management platform. Flow 3.2 boasts support for industry-standard 4K codecs; unique file upload and download capabilities that expand the remote collaboration power of AirFlow, the Web-based portal into Flow; and new, fully-automated transcoding and delivery options. New format and ingest capabilities include: Ex- panded 4K support (ProRes 4K, Red R3D and XAVC), support for single-file-per-frame formats (scanning DPX, TIF, Cinema DNG, ArriRaw, PNG and other file types with sequential file names), and support for up to six channels of HD-SDI ingest in a single Flow serv- er. Flow 3.2 also includes enhanced remote collabora- tion capabilities (AirFlow users can now upload and download files from a Web browser interface), fully automated transcoding and delivery, and a redundant database option (if the primary database goes down, Flow automatically moves to the backup database).

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