AVAILABLE SERVICES

ON-SET POST-PRODUCTION

The creative and technical aspects of post-production can be mobilised and brought on-site. This greatly enhances the efficency of the production process and smooths over the transition to post.

To simplify things these have been combined into two categories: media asset management AND look creation.

Each production has different requirements so click on the tabs below to see what you might need.


Interested? Feel free to get in touch.
DIT and data wranglers get paid at separate rates for doing different but closely related jobs.

As the name suggests the data wrangler is responsible for the offloading, backup, and archival of all data. This is an extremely important job as the value of the data being handled is worth a substantial chunk of the total budget, if not all.

However, the DIT is responsible for image quality control and on-set colour correction alongside managing the entire production workflow. While this can involve offloading data and archival those duties will be handled by a separate Data Wrangler on large and complex shoots.

Yes.

But even data wrangling is scalable. For instance on short-form productions rudimentary offloading and backups may be all that is required. But for large productions terabytes of footage may need to be offloaded every day, backed up, archived, and exported out in addition to generating camera reports.

So a data wrangling job may require different approaches, which is why it is important to get in touch and let me know the scale of your production and what you specifically require.

“But I haven’t had any problems.”

I hear this all the time when telling people not to rely on dragging and dropping their valuable footage onto hard drives.

Doing so is like blindly crossing the road. You may get away with it 100 times in a row, but that doesn’t mean you’re not going to be hit on the 101st try.

Data management is like that. For that reason when working on-set I follow the “3 – 2 – 1” guideline:

3: Data should be triplicated across 3 different storage mediums.

2: And they should include at least 2 different types (RAID / HDD / LTO etc)

1: With 1 of those being stored off-site.

Copying and pasting is not adequate as transfers can introduce errors. This is especially true when using raw formats as the risk of introducing errors is magnified due to the fact that the footage is stored as sequential still images. To combat that I use a combination of data verification software and manual quality checks.

Yes, this can be done easily through the use of Pomfort’s Silverstack. And as long as the metadata is entered correctly into the camera it can include as much or as little information as you require.

For instance the logging of content can be done during the offloading process with that information then being added as metadata for each clip. That is then output during the generation of each report. This can be useful for editors when they have to filter through a lot of footage during multicam shoots.

Yes.

When it comes to managing a single camera production vs a multicam production I use the same organisational methods. However with multicam workflows it is important to know the technical specifics of the footage I’m dealing with as I need to know how much data will pass through my computer system and how quickly it can be offloaded.

This is because the offload process can only be as fast as the slowest part of the entire chain.

My local region is the East and West Midlands (UK) but as I am based in the midlands I have easy access to all the main transport links throughout the country.

So as long as transportation and accommodation (if relevant) costs are covered I can be available anywhere across the country.

  • Data Wrangling + Reports

    Single and multi-cam productions can produce enormous amounts of audio and video files that all need to be safely tracked and offloaded.

    Using a combination of hardware and software I can ensure that every file is safely offloaded and verified at high speed without being restricted by slow transfer connections.

    And with Pomfort’s Silverstack the metadata from each clip can be pulled into a virtual library from which information can be referenced and reports generated.


  • Backup and Archival

    During the offload all recorded footage is then 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.

  • Audio / Video Sync

    When external audio is recorded it can be synced up with the video and then exported out as dailies (see below) or set up as a new clips within the project file if dailies are not needed by post.

    Typically this is easily achieved by syncing up by timecode but if that isn’t available then it can be done by matching audio waveforms.

    This process allows cast and crew to review footage without being put off by the terrible quality of the onboard camera audio (assuming there is any).


  • On-Set Proxies and Dailies

    After the footage has been safely backed up and audio synced 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.

  • Live Quality Checks

    By using Blackmagic Design equipment, Scopebox software, and a calibrated 10 bit monitor capable of displaying the 709, DCI-P3, and the Rec.2020 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.


  • Custom LUTs & Grades

    In collaboration with the DoP custom looks can be created and then saved as LUTs, which are then sent upstream to monitors or individual cameras.

    After wrap these grades can be sent to post-production wherein the colourist can use them as the basis for the final colour grade.

    This allows the DoP and creative team a lot more control over the visual look of what is being shot.

  • Live QC & Video Village

    By using Blackmagic Design equipment, Scopebox software, and a calibrated 10 bit monitor capable of displaying the 709, DCI-P3, and (a portion of) the Rec.2020 colour spaces 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.


  • Film Editor (Offline)

    As a freelance editor my specialities include drama and documentary editing but I will consider any narrative based project.

    ProRes or DNxHD/DNxHR proxies are preferred as they are more manageable, with remote editing becoming feasible due to small file sizes. If you are unable to provide proxies or dailies then courier fees will be extra. Alternatively I can arrange to hire out an editing facility close to you at an additional cost.

    But if you’re in pre-production then I recommend considering the DIT service. That way all transcoding and processing is taken care of on-site.



  • Colour Grading

    Colour Grading involves the manipulation of both the colour and light of your original footage until the desired look is achieved.

    Delivering this to a finished standard on-site is not recommended as you need to grade within a controlled environment to prevent variables from affecting your perception of the image.

    But as a DIT preliminary grades and looks can be created in collaboration with the DoP and then sent remotely to the colourist. And with a calibrated 10 bit monitor capable of displaying HDTV and digital cinema colour spaces the accuracy of graded images can be assured.

Live QC & Video Village

By using Blackmagic Design equipment, Scopebox software, and a calibrated 10 bit monitor capable of displaying the 709, DCI-P3, and (a portion of) the Rec.2020 colour spaces 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.



Film Editor (Offline)

As a freelance editor my specialities include drama and documentary editing but I will consider any narrative based project.

ProRes or DNxHD/DNxHR proxies are preferred as they are more manageable, with remote editing becoming feasible due to small file sizes. If you are unable to provide proxies or dailies then courier fees will be extra. Alternatively I can arrange to hire out an editing facility close to you at an additional cost.

But if you’re in pre-production then I recommend considering the DIT service. That way all transcoding and processing is taken care of on-site.


Colour Grading

Colour Grading involves the manipulation of both the colour and light of your original footage until the desired look is achieved.

Delivering this to a finished standard on-site is not recommended as you need to grade within a controlled environment to prevent variables from affecting your perception of the image.

But as a DIT preliminary grades and looks can be created in collaboration with the DoP and then sent remotely to the colourist. And with a calibrated 10 bit monitor capable of displaying HDTV and digital cinema colour spaces the accuracy of graded images can be assured.