Post Production Workflows

We are trying to add some resources to the local community, and what better way than to share some of our workflows.

1) Canon 5d MKII Post Workflow:

Definitely one of the easier post workflows, but for on set monitoring this camera can be a bit of a pain. If you plan on just connecting an HDMI and monitoring while your DP uses the rear LCD, sorry… The camera doesn’t have enough processing power to send out two signals ( It’s a DSLR with video enabled what do you excpect? Still pretty great). So it cuts out the rear LCD to distribute the signal through the HDMI port. As a solution to this we grabbed a Blackmagic HDMI- HDSDI Mini Converter from Abel Cine. With this device you still lose the rear LCD once the HDMI is plugged in, but you can have an onboard monitor with one of the Blackmagic HD-SDI connections for camera crew, and the directors/client monitor can use the remaining HD-SDI port from the converter.

Canon 5d MKii -Post Production Workflow

2) RED ONE Post Workflow

This worklow has been evolving since 2008. After two years of fan boys saying it rocks, and veterans saying it will never work. The workflow of RED is one of it’s graces. To be able to shoot 35mm quality footage @ 4k, and immidietly back that up and begin cutting within minutes of wrapping a day, and having dailies to your client almost instantaneously is a real push for the RED Revolution.

Red One Digital Cinema Post Production Workflow

3) Arri Alexa Post Workflow:

One of the new heavy weights of Digital Cinema cameras, the Alexa gives you a high quality cinematic image, with the latitude of film, but with the ease of digital. This workflow can be done through SXS cards, or by tethering to a Tape recorder, or Digital recorder. By shooting directly to SXS you get files that are either Pro Res 422, or Pro Res 444. Which is really great for editorial, and a fast paced post process. If you want a bit more latitude in post you can record into a digital recorder that will enable ARRIRAW in post so you have the full gamut of sensor information as it was shot.

Arri ALEXA- Post Production Workflow

4) Sony F35 – Post Production Workflow:

This was Sony’s first big response to the release of the RED ONE. Looking very similar to the F23, this cameras upgraded insides make it a powerhouse over its predecessor. This camera feel is much like a traditional film camera, and was a pleasure to work with, giving me a great SLog image to work with in post. The downside to this camera is having the big recording unit attached or tethered, but nothing different from a giant film mag. For hand held shots though, I may look else where.

Sony F35 Cine-Alta - Post Production Workflow

5) Vision Research Phantom Slow Motion Camera – Post Production Workflow:

This camera is an oddball in the sense that it was not made to be used in commercial and film, but for recording crash testing of vehicles to help with car safety. But for it’s technical ability and amazing image, it was quickly adopted by the film industry, and now the commercial advertising industry. With the ability to go to 1000 frames @ 1080p this camera allows the human eye to see things we didn’t even know occurred. This workflow can be achieved either with tethering the camera control unit to an HDCAM SR deck for tape backup, or the .CINE files from the Phantom can be stored and converted into Pro Res 444 with Final Cut Pro.

Vision Research Phantom - Post Production Workflow

This is an open forum so if there are any issues or comments, please leave us some feedback in the comment section below.

Happy Shooting!

-Scott

“The Ripple Effect of Digital and Analog in Film”

Ridiculous Formats

‘Like insects toward a bright light, humans have gravitated towards technology, quickly forgetting about the formats of the past like laser disc, beta, VHS, and now DVD. But throughout the whole process the content itself hasn’t changed. If you have a good story and plot, you’ve got yourself some potential to make a great film.  So when will we stop the great search for the next big thing in technology and how it will advance film?’

http://www.blog.filmarmy.org/2011/01/the-ripple-effect-of-digital-and-analog-in-film/

-Scott

Proximity @ The Asylum Studio

Today we were working on an interactive production with Proximity. After a great morning of shooting, and some beautiful footage. We sat down and had a nice Italian meal before wrapping for the day. Nothing better than some fun and food.

My apologies to our Post Production Supervisor/ Sr. Editor Chris Reesor, I was so excited to get back to my plate. I didn’t frame him correctly. 1,2,3, CHEESE!

New Site Intro and Reel

If you haven’t been there yet, check out www.AsylumArtists.com, we just updated our site’s intro and put up a show reel for 2010. A youtube link to the reel below.

[vimeo clip_id=”20760965″ width=”600″ height=””]