It’s been a busy 6 months since last I updated. Immediately after ending Animal Rescue in April, I got a phone call from my friend Reed Morano saying that I was on board for another Major Motion Picture called “And So It Goes” directed by Rob Reiner and starring Michael Douglas and Diane Keating.
ASIG was a 2 camera show shooting Alexa at 2k ProRes4444 on SxS cards. I was monitoring in LogC and then de-logging with the usual Film Emulation LUT provided by Company3.
The shoot itself was pretty hectic, mainly using Boxx wireless to monitor and color a signal (which isn’t exactly ideal but we made it work) and also talking screenshots with Blackmagic Media Express (which is my favorite way to submit reference still BTW, just quick and precise and to the point).
A few night shoots and 28 shooting days later we wrapped that film and I immediately went into a very interesting project called “Infinit: Deja-View”
For Infiniti I was just an assistant editor and then main editor. I won’t go into too much detail about that as I try to keep this to a blog about DITing, but it’s still pretty awesome to take a look at (especially in how they execute the experience). I highly suggest taking a look at it.
Immediately after that in September I was DPing for my 10th feature film called Zombie Killers starring Builly Zane, Mischa Barton, Dee Wallace, and Gabrielle Stone.
We were shooting in too hectic of locations (often in the middle of the woods) and I wasn’t always able to get my DIT out to set so we developed a workflow that I really really liked and will be using this going forward. I might end up having him do a guest post on this blog.
We ended up having Mike do a first light in Resolve and then export screenshots to a folder on my laptop and then when we ended the day that folder automatically uploaded to dropbox when we got back to the hotel and I was able to see that day’s color choices and give feedback instantly at the end of the day. Was also able to send to the Director so he could weigh in on things and be able to share footage with the actors.
Also we were able to have an editor on set working off of the raw files in 5k right in FCPX and that workflow shined like no other 4 days after we wrapped principle photography we had a rough cut. Halfway into the movie the editor was only 1 day behind in building an assembly edit. Working with him and Michael we really cut down on editing time and the film is already out to VFX and we will be starting color in December after only wrapping at the end of September, which is INSANELY fast.
October came around and I got an interesting phone call from my friend Boots Shelton (A 1st on Animal Rescue) to come be a part of the 2nd unit team for 22 Jump Street. I didn’t really know what to expect so I said yes and went to figure it out. Turns out it was a lot more than I had in mind and had a whole lot to deal with.
For 22 Jump street I ended up purchasing a Leader LV5330 as we;; as 3 Das and 2 additional HDLinks so I can support up to 3 cameras at once (with one being the backup in case something happens). The good thing about this job is that it is a whole lot of “hurry up and wait” scenarios as we are typically doing gunfire, stunts, and explosions (pretty awesome right?).
Here’s my setup for 22 Jump street to support 3 cameras all the time.
I had to rewire my whole cart to be able to support this.
Also I had my buddy Wes Carrier of Carrier Lighting build out the speedrail setup so that I can have up to 4 monitors if I really wanted to.
The nice thing about this is that I now have the ability to be able to accurately see and show IRE scales in 709 AND in Log to be able to assist the DP. However I’m going to change it all up AGAIN once the new year comes around as I’m going to be purchasing an inovativ cart and tricking that out (Echo 36 to be exact, pricey but worth it IMO).
Also, I came up with a little trick that I REALLY like. I took my 5330 and added a Teradek Bolt to the mix and now I have a wireless handheld unit that I can show the DP so he or she can walk around and watch the exposure as he or she so deems, it’s pretty awesome AND the bolt is light enough that it doesn’t make that much of a difference.
For the most part I’m doing my monitoring almost exclusively from dual 5330s and I have access to an iris remote for the cameras that need it (aka the ones on the libra head).
Here’s the deal for workflow and how we’re handling media.
We’re shooting on AlexaXTs this time around and I have to say that arri is FINALLY a contender for in-camera RAW. It’s really awesome to be able to have the RAW capabilities that Red has internally but have that alexa look without the inconvenience of the external codex recorder (and typically not shooting ProRes AND RAW, so now it’s just RAW).
We do a film break at lunch (typically only shoot about 10-15 minutes of footage before lunch due to everything being action oriented) and we download the mags to the Codex Vault, which is INSANELY fast! 512gb offloads to the internal RAID in just 12 minutes, that’s a full card backed up in 12 minutes…INSANE. You can add additional drives outside of the vault connected via SAS or USB3, but it’s exponentially slower (75% slower actually).
After we make the initial copy on set, the cards go back to post (which is what we did for Animal Rescue) and then they come back to set the following day in which we can then clear those cards. We only clear the mags from the vault when we get the okay from post that they’ve been LTO’d and properly backed up at the post house (typically a 4-5 day turn around).
So far We’re shooting in New Orleans until mid November then shooting in Puerto Rico until Mid December (currently 77 degrees right now, I know you all hate me 🙂 ).
Next up: the Codex Vault2