Data Wrangling

On-Set Dailies

Film Editing

Digital Mastering

Data Wrangling

On-Set Dailies

Film Editing

Digital Mastering

Data Wrangling

On-Set Dailies

Film Editing

Digital Mastering

Data Wrangling

On-Set Dailies

Film Editing

Digital Mastering

Your simplified route from production to post

Your simplified route from production to post

Your simplified route from production to post

Recent blog posts

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.

Contact Me!
  • Connector.

    DATA WRANGLING

    Footage is offloaded from multiple cameras and triplicated for safety. Organisation is meticulous and sorted in accordance with post’s requirements.

  • Connector.

    ON-SET DAILIES

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

  • Connector.

    FILM EDITING

    Film editing services can be deployed on-site minutes after shooting to create rough cuts or simply to check the continuity between shots.

  • Connector.

    DIGITAL MASTERING

    This involves taking the finished NLE project file and ensuring it conforms to broadcast quality standards before outputting a high quality master file that can then be used to create multiple deliverables.


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.


  • Connector.

    DATA WRANGLING

    Footage is offloaded from multiple cameras and triplicated for safety. Organisation is meticulous and sorted in accordance with post’s requirements.

  • Connector.

    ON-SET DAILIES

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

  • Connector.

    FILM EDITING

    Film editing services can be deployed on-site minutes after shooting to create rough cuts or simply to check the continuity between shots.

  • Connector.

    DIGITAL MASTERING

    This involves taking the finished NLE project file and ensuring it conforms to broadcast quality standards before outputting a high quality master file that can then be used to create multiple deliverables.

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.


Interested?

If you’re interested in collaborating on a project then feel free to get in touch.