Issue link: https://digital.copcomm.com/i/714540
28 with the strength of Pronology's proprietary recording hard- ware (as well as the archival potential and distribution add on modules), create ease and reliability for any production. I have currently operated on at least seven Atlas produc- tions since its maiden voyage. Each project has its own unique experiences as we navigate this new technology and change the culture of TV. The journey has been rocky and yet extremely rewarding. I continually remind myself that forging new technological paths is an uphill battle, with extreme rewards in moments of success and education in every failure. Technological pioneers must never cease to think outside the norm and anticipate the needs of others before they arise. Here are my notes along this journey: JANUARY: GREASE LIVE! MAKE IT WORK. NO MATTER WHAT. Fox's presentation of Grease Live! redefined primetime live musicals with its outstanding performances, elaborate chore- ography and impressive camerawork. Atlas's first official out- ing occurred while re-creating one of my favorite childhood films. The biggest test of my career was whether I could sing along while simultaneously ingesting and managing assets. This was the first time I worked with mRes's new ClipController interface. Pronology's development team cre- ated an easy-to-configure, scalable interface, and with only a few hours of training, I was able to record the production and distribute the media with success. Our delivery requirements for Grease Live! had to serve three functions. Recorded media was simultaneously delivered to Paramount's post department, Fox's promotional department and our on-site editor (who was in Pronology's separate post- production truck, not far from Atlas). Our assignments were: Five camera ISO tracks • A full program feed with graphics • A clean program feed without graphics • An additional clean program feed for immediate pro- motional use Pronology's Edit Trailer on Grease Live! Pronology mRes™ ClipController interface • An additional full program feed for future screener copies • A tape backup Each mRes video channel recorded eight audio channels. Audio channels one and two were designated for program left and right for each mRes channel. Remaining audio channels were designated to characters, house music mix, dialogue mix, sound effects and backup feeds. Production Sound Mixer Mark King and his production team were an invaluable resource in ensur- ing that sound records were clean and organized as they entered our system. Each ISO and program feed was recorded three times, a primary, secondary and tertiary. The primary and secondary records were recorded in a 1080p, 23.98 psf, ProRes HQ format, onto a Small Tree TZ portable raid. This was my first time working with the Small Tree storage solutions, and I appreciated that I was able to hand post a robust yet portable raid solution at the end of the show. The interface made it easy to configure the raid for our specific needs. A third set of recordings (five ISOs and a single program feed) were recorded in 1080p, 23.98 DNx175, OP-Atom, onto an Avid ISIS, which was connected to the on-site Pronology editing truck. Our West Coast airtime immediately followed our East Coast broadcast conclusion, necessitating a fast turnaround for Editor Mark Stepp. Mark used Avid's Edit-While-Capture feature to create growing video files. Since I created new files for each of the show's acts during the East Coast broadcast, Mark was able to use those AAFs (Avid files used to transfer sequence/timeline information from one program to another) to make changes to his growing Avid sequence. Coupled with this feature, commu- nication between Tape Producer on the truck, and Mark in the Avid suite allowed for fixes at an impressive speed. After minor fixes were complete, Mark exported files back onto the Avid ISIS as DNxHD MXF OP1a files. I bridged the gap between Mark and Video Playback Operator Scott Cruit, as I pushed files between the Small Tree Z8, shared storage raids on the truck and the ISIS for post. As a Pronology operator, I am constantly scanning my GUI for inconsistencies or signs of unexpected issues that may arise dur- ing media capture, distribution and archiving. Pronology allows