I then spent some time doing as good a QC as I could do with 8 hours of material in front of me that needed to be turned around by morning. Which got me most of the way there picture quality wise. I would also sync the sound in Resolve for dailies purposes (But not editorial proxies, as I’ll explain later).įor my Red Raw settings I settled on Half-Res Good de-bayer, and the Red-Color 3 Gamma. Then I would bring it all into DaVinci Resolve to enter the necessary metadata (scene, shot, camera etc.). SETUP: Once I received the footage, I would first import (not offload) the material into Silverstack for cataloging and my reports. Then have the second half delivered to me once they wrapped for the day. When the crew wrapped for lunch, I would go to set and pick up the first half of the days footage and audio, and bring it back to the room to start encoding. Once that was done they would return the cards back to the camera team for re-use, and grab the audio from the location sound team. Giving us one master and one backup of all the material shot. Once they finished offloading their cards to their respective drives, they would copy and consolidate the other wrangler’s material via thunderbolt. Each of them had their own ingest stations consisting of one laptop with Shotput Pro and a dual thunderbolt drive in RAID0 configuration. I assigned each data wrangler to be responsible for two cameras. With my assistant and I splitting shifts we were able to have the DIT department working 24 hours day.ĭATA WRANGLING: I knew that with this volume of material, that I’d be better off working in parallel as much as I could. However dailies needed to be both distributed on set and uploaded to PIX for the producers in L.A. I was in a hotel room with my assistant, and the data wranglers had the DIT van to go from location to location.Įditorial was not on-set for this production, and we only sent out a hard drive with proxies once every two days, so luckily there was some flexibility time-wise there. Since the production was moving fairly quickly, and the shooting was too rushed to do on-set grading, I decided to set up in a near-set configuration. There were usually 4 Red Epics shooting concurrently in 4K at 1:8, so while our average data usage was just under a modest 1TB/day, that ended up being about 8 hours(!) of material to transcode and upload daily.įor my DIT crew, I had two data wranglers on set, and an assistant. The major challenge of this shoot was the sheer amount of material coming in on a daily basis. The Man with the Iron Fists 2, was shot here in Chiang Mai Thailand over 20 days. Software: DaVinci Resolve, Pomfort Silverstack, Tolis Tape Tools, Shotput Pro Title: The Man with the Iron Fists 2- Sting of the Scorpion
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