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.
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.
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.
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.
FILM EDITING
Film editing services range from assembly edits through to final cuts and picture lock. Basic edits can be performed on location.
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.
Having a responsible professional handle your rushes is vital on any film project, so I use Richard’s services to be sure everything goes smoothly. He’s my go-to DIT for feature projects.Jen Handorf, Producer, The Watcher In The Woods
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. I look forward to working with Richard again in the future.Rachel Robertson, Production Manager - 'Acid Daemons'
What you can expect on location
What you can expect on-location
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.
Backups and Archival
After the initial backup I can then make sure that all recorded footage is automatically 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.
Live Colour Grading
When lighting solutions prove too impractical colour grading can be performed on location to create custom visual looks.
This gives your project a unique look that can then be sent to the colourist in post-production for final tweaks.
This allows the DoP and creative team a lot more control over the visual look of your finished film.
On-Set Proxies and Dailies
After the footage has been safely backed up it can then be exported out in a matter of minutes as dailies for viewing by the director and other members of the production team.
These can either be uploaded to the cloud for viewing on a secured frame.io account or streamed locally out to iPads, allowing selected crew to review dailies on the move.
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.
Backups and Archival
After the initial backup I can then make sure that all recorded footage is automatically 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.
Live Colour Grading
When lighting solutions prove too impractical colour grading can be performed on location to create custom visual looks.
This gives your project a unique look that can then be sent to the colourist in post-production for final tweaks.
This allows the DoP and creative team a lot more control over the visual look of your finished film.
On-Set Proxies and Dailies
After the footage has been safely backed up it can then be exported out in a matter of minutes as dailies for viewing by the director and other members of the production team.
These can either be uploaded to the cloud or streamed locally out to iPads, allowing selected crew to review dailies on the move.
Questions
Hardware: Macbook Pro 2017, Radeon 580 8GB (eGPU), BMD Mini Monitor, BMD Mini Recorder, DMON-4S Multiviewer, OSEE LCM156-E (10bit monitor), 16TB storage (8TB RAID 1), and more…
Software: Davinci Resolve, Silverstack, Livegrade Pro, Hedge, and more…
NOTE: For more demanding workflows kit can be hired in, with entire workstations being available for an extra cost. However, this requires longer notice to organise and prepare.
Not at short notice. Even at a massively reduced quality 8k footage can be difficult to process into dailies, or transcode for editorial using the equipment listed above.
Additional kit would be needed to hire in to process 8k footage at an acceptable speed and quality, which requires time to organise and prepare.
NOTE: “Processing” refers to transcoding and dailies creation. Data management / wrangling is entirely possible with 8k footage.
But for longer term productions I would require overnight accommodation.
Contact
If you have any questions that haven’t been covered here then please get in touch.
Phone +44 7748 242948
Email info@rdstrong.com
Facebook facebook.com/RDSDigital
Twitter @RichardStrong
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