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On-Set Post What about VFX? What about color? Then there's mastering to factor in. We consider all the components to ensure a project is deliv- ered efficiently and successfully, and Lily Pad and Outpost are designed to do just that." Says Cioni, "Lily Pad sets the looks on-set while the horsepower of Outpost does the heavy lifting. Between the two systems, they can do much more than a traditional dailies post house with far fewer resources. In addition, we incorporate customized iPad apps that add powerful collaboration and reviewing tools." The Lily Pad cart rolls on set to handle Encore colorist Alana Cotton: The studio provides on-set services for The River. in 2012, according to CEO Michael Cioni. Recent feature projects, such as The Muppets, Gone and Underworld 4, as well as TV's Crimi- nal Minds and Justified, have all relied on Light Iron's mobile services. "Our philosophy is focused more on the administrative approach to on-set post instead of the technical approach," he says. "The most complex component in the pro- cess is the execution, not the technology: the complex architecture of a truly efficient work- flow. An effective workflow shouldn't end with the DIT or with deliveries to editorial. same-day dailies for the director and DP, set color correction to pass downstream to Outpost and serve as a syncing machine. "The Lily Pad operator is a more creative part of the camera crew, a role commonly filled by a DIT or DMT," Cioni notes. "Lily Pad is often all our client's set needs: a modern, optimized DIT or DMT cart. Its primary task is creatively driven and is not intended to make back-ups and copies." Outpost is where copies happen, includ- ing original files and transcodes for Avid, Apple Final Cut or Adobe Premiere editorial. It syncs and applies the Lily Pad color meta- data, builds imbedded metadata for future use by VFX and conform, makes dailies for iPads and the Web, and enables options for high-level security such as encrypted drives. Outpost carts are rented through facilities in LA and are becoming available worldwide. When shows like Criminal Minds and Justi- fied switched to shooting files last season, the production teams were provided "the opportunity to take advantage of totally new infrastructures," says Cioni. Both shows use Lily Pad to manage or set initial looks with their DPs, then push those looks to Outpost where they are exported to editorial and visual effects. "So far, most of the implementation of Lily Pad and Outpost has been in the feature world," Cioni says. "We often see feature films fully adopt new trends before TV, but every year we see more adoption by TV of end-to-end progressive workflows." He believes network and cable shows are starting to recognize the "end-to-end benefit" of using Lily Pad and Outpost, including cost and time savings, and enhanced creative control. "What we're talking about is the expan- sion of new infrastructures, which motivates An award winning workflow for Avid, Apple and Adobe Ingest 28 Post • April 2012 Collaborate www.postmagazine.com Secure April 16-19 | NAB Show | Booth #SL12415 www.rorke.com