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Your simplified route from production to post

Your simplified route from production to post

Your simplified route from production to post

TIME is invested into crafting a great story

MONEY is spent hiring cast, crew, and equipment

ERRORS can cause you to waste both


By providing on-set services I can offer immediate review, editing and grading capabilities.

And with live multi-cam support costly errors can be spotted before you even hit record.

This reduces the downtime between production and post from days to minutes. Saving you both time and money.

Click to download my rate card
  • DATA WRANGLING

    Footage is offloaded, backed up, and archived across any combination of HDD, RAID, or LTO tape storage devices allowing for instant review.

  • COLOUR GRADING

    Custom looks can be created on location or done remotely as part of a comprehensive grading process.

  • ON-SET DAILIES

    After offloading the custom looks can be applied and dailies / proxies generated for uploading to the cloud or streamed to iPads for review.

  • DIGITAL MASTERING

    All components of the film are assembled and a high quality master file is exported. From this multiple broadcast compliant deliverables can be created.

Featured Work

TIME is invested into crafting a great story

MONEY is spent hiring cast, crew, and equipment

ERRORS can cause you to waste both


By providing on-set services I can offer immediate review, editing and grading capabilities.

And with live multi-cam support costly errors can be spotted before you even hit record.

This reduces the downtime between production and post from days to minutes. Saving you both time and money.

Click to download my rate card
  • DATA WRANGLING

    Footage is offloaded, backed up, and archived across any combination of HDD, RAID, or LTO tape storage devices allowing for instant review.

  • COLOUR GRADING

    Custom looks can be created on location or done remotely as part of a comprehensive grading process.

  • ON-SET DAILIES

    After offloading the custom looks can be applied and dailies / proxies generated for uploading to the cloud or streamed to iPads for review.

  • DIGITAL MASTERING

    All components of the film are assembled and a high quality master file is exported. From this multiple broadcast compliant deliverables can be created.

  • DATA WRANGLING

    Footage is offloaded, backed up, and archived across any combination of HDD, RAID, or LTO tape storage devices allowing for instant review.

  • COLOUR GRADING

    Custom looks can be created on location or done remotely as part of a comprehensive grading process.

  • ON-SET DAILIES

    After offloading the custom looks can be applied and dailies / proxies generated for uploading to the cloud or streamed to iPads for review.

  • DIGITAL MASTERING

    All components of the film are assembled and a high quality master file is exported. From this multiple broadcast compliant deliverables can be created.

Click to download my rate card

What you can expect on-set

What you can expect on-set

What you can expect on-set

Video Village and Live Grading

By using Blackmagic Design equipment, Scopebox software, and a calibrated laptop capable of displaying 100% of the 709 colour space I can directly view your camera’s feed via its SDI or HDMI port.

This ensures I can prevent any problems with the image from negatively impacting your production, all before you press the record button.

In addition I can monitor up to 4 camera feeds directly and view them all in a multi-view configuration in addition to outputting to 3 separate broadcast monitors. This allows me to supply video village and live grading facilities side by side.


Data Management

After the initial offload I can then make sure that all recorded footage is automatically backed up and archived to multiple external drives, LTO tapes, or RAID arrays.

These drives can be formatted for use on Windows (NTFS) or Mac (HFS+), which makes compatibility issues a thing of the past.

When backing up your data I also make sure to utilise checksum verification techniques and spot checks to ensure that your data is a perfect 1:1 replica of the original.


On-Set Proxies and Dailies

After the original footage has been safely backed up I can then export it out as dailies for viewing by the director and other members of your production team.

By utilising Light Iron’s Live Play 3 iPad app I can then wirelessly deliver the dailies out to multiple iPads. This enables the director and DoP to review the raw footage within minutes of shooting.

On top of that Forscene, frame.io, and dropbox integration can be included as a part of the on-set services which gives you a variety of cloud video hosting platforms to choose from. All of which allow for remote reviewing and editing.

Video Village and Live Grading

By using Blackmagic Design equipment, Scopebox software, and a calibrated laptop capable of displaying 100% of the 709 colour space I can directly view your camera’s feed via its SDI or HDMI port.

This ensures I can prevent any problems with the image from negatively impacting your production, all before you press the record button.

In addition I can monitor up to 4 camera feeds directly and view them all in a multi-view configuration in addition to outputting to 3 separate broadcast monitors. This allows me to supply video village and live grading facilities side by side.




Data Management

After the initial offload I can then make sure that all recorded footage is automatically backed up and archived to multiple external drives, LTO tapes, or RAID arrays.

These drives can be formatted for use on Windows (NTFS) or Mac (HFS+), which makes compatibility issues a thing of the past.

When backing up your data I also make sure to utilise checksum verification techniques and spot checks to ensure that your data is a perfect 1:1 replica of the original.


On-Set Proxies and Dailies

After the original footage has been safely backed up I can then export it out as dailies for viewing by the director and other members of your production team.

By utilising Light Iron’s Live Play 3 iPad app I can then wirelessly deliver the dailies out to multiple iPads. This enables the director and DoP to review the raw footage within minutes of shooting.

On top of that detailed frame-accurate notes can be logged and exported out as metadata for use by various members of the post-production department.


Video Village and Live Grading

By using Blackmagic Design equipment, Scopebox software, and a calibrated laptop capable of displaying 100% of the 709 colour space I can directly view your camera’s feed via its SDI or HDMI port.

This ensures I can prevent any problems with the image from negatively impacting your production, all before you press the record button.

In addition I can monitor up to 4 camera feeds directly and view them all in a multi-view configuration in addition to outputting to 3 separate broadcast monitors. This allows me to supply video village and live grading facilities side by side.




Data Management

After the initial offload I can then make sure that all recorded footage is automatically backed up and archived to multiple external drives, LTO tapes, or RAID arrays.

These drives can be formatted for use on Windows (NTFS) or Mac (HFS+), which makes compatibility issues a thing of the past.

When backing up your data I also make sure to utilise checksum verification techniques and spot checks to ensure that your data is a perfect 1:1 replica of the original.


On-Set Proxies and Dailies

After the original footage has been safely backed up I can then export it out as dailies for viewing by the director and other members of your production team.

By utilising Light Iron’s Live Play 3 iPad app I can then wirelessly deliver the dailies out to multiple iPads. This enables the director and DoP to review the raw footage within minutes of shooting.

On top of that detailed frame-accurate notes can be logged and exported out as metadata for use by various members of the post-production department.


Video Village and Live Grading

By using Blackmagic Design equipment, Scopebox software, and a calibrated laptop capable of displaying 100% of the 709 colour space I can directly view your camera’s feed via its SDI or HDMI port.

This ensures I can prevent any problems with the image from negatively impacting your production, all before you press the record button.

In addition I can monitor up to 4 camera feeds directly and view them all in a multi-view configuration in addition to outputting to 3 separate broadcast monitors. This allows me to supply video village and live grading facilities side by side.

Data Management

After the initial offload I can then make sure that all recorded footage is automatically backed up and archived to multiple external drives, LTO tapes, or RAID arrays.

These drives can be formatted for use on Windows (NTFS) or Mac (HFS+), which makes compatibility issues a thing of the past.

When backing up your data I also make sure to utilise checksum verification techniques and spot checks to ensure that your data is a perfect 1:1 replica of the original.

On-Set Proxies and Dailies

After the original footage has been safely backed up I can then export it out as dailies for viewing by the director and other members of your production team.

By utilising Light Iron’s Live Play 3 iPad app I can then wirelessly deliver the dailies out to multiple iPads. This enables the director and DoP to review the raw footage within minutes of shooting.

On top of that detailed frame-accurate notes can be logged and exported out as metadata for use by various members of the post-production department.

Recent Work

  • Road To Rio: Jessica Ennis-Hill

    Services: Data Wrangling + QC
    Client: Psona Films

    A single camera production shot on behalf of BP that aimed to highlight selected British athletes in preparation for the Rio 2016 Olympics.

  • Acid Daemons

    Acid Daemons

    Services: Data Wrangling, Proxies Creation
    Client: Hive Films

    An independent horror feature film shot on a purpose built set at Creativ Studios in the heart of the East Midlands.

Testimonials

  • “It’s been a pleasure to work with Richard over the past few months on the feature ‘Acid Daemons’.

    I’ve found him to be extremely knowledgeable and he was particularly good at explaining complex workflows to a layman like myself!

    I look forward to working with Richard again in the future.”Rachel Robertson, Production Manager - 'Acid Daemons'

  • “I can’t recommend Richard highly enough. His knowledge of his craft is exemplary, second only to his commitment and his eye for detail.

    As well as being a master of the dark technical arts, Richard is a creative in his own right.

    So it’s not just about the nuts and bolts of a project with him, it’s about the director’s vision and how best to realise it.”John McCourt, April Just Gone Productions'


Previous Work

  • “It’s been a pleasure to work with Richard over the past few months on the feature ‘Acid Daemons’.

    I’ve found him to be extremely knowledgeable and he was particularly good at explaining complex workflows to a layman like myself!

    I look forward to working with Richard again in the future.”Rachel Robertson, Production Manager - 'Acid Daemons'

  • “I can’t recommend Richard highly enough. His knowledge of his craft is exemplary, second only to his commitment and his eye for detail.

    As well as being a master of the dark technical arts, Richard is a creative in his own right.

    So it’s not just about the nuts and bolts of a project with him, it’s about the director’s vision and how best to realise it.”Rachel Robertson, Production Manager - 'Acid Daemons'

  • Road To Rio: Jessica Ennis-Hill

    Services: Data Wrangling + QC
    Client: Psona Films

    A single camera production shot on behalf of BP that aimed to highlight selected British athletes in preparation for the Rio 2016 Olympics.

  • Acid Daemons

    Acid Daemons

    Services: Data Wrangling, Proxies Creation
    Client: Hive Films

    An independent horror feature film shot on a purpose built set at Creativ Studios in the heart of the East Midlands.


Questions


I cover a maximum range of 2 hours by car. This takes me within commutable distance of Manchester, Cardiff, and London.

At 2 hours each way this is a 4 hour round trip so prolonged shoots would require overnight accommodation.

There are minimum costs I need to meet with the specifics being dependent on the production. So while I am open to being flexible with my rates my expenses will need to be met at a minimum.

For more information please get in touch so we can discuss your requirements.

I rent out items locally through the peer-to-peer lending service fatlama.com.

My profile can be found here.

The logistics are still being worked out but in the near future a courier system will be used to send and receive footage stored on a hard drive.

This will be useful for the Digital Mastering and DCP Creation services as it bypasses the need for high-bandwidth internet access on both sides.

With regard to DCP Creation it may be possible to receive the hard drive, process it, format the drive, then send it back ready to be sent to festivals. This will be an optional extra.

Contact


If you have any questions that haven’t been covered here then please get in touch.