Things have been dark on this blog for good reason. I was on HBO’s Vinyl from May to October and couldn’t talk about my involvement on that at all from a NDA perspective.
Now that the show is out I can officially start talking about the workflow and how everything came to pass.
So here’s a sneak peak of what I’ve been working on for this site.
Pomfort Silverstack v5
Silverstack just released version 5 of their software which add some MUCH needed tweaks, especially in the LiveGrade LUT cross integration that I’ve been wanting for some time now (maybe now I’ll actually start to use the rendering aspect of the software that I used to pay for and never used). I’ll be doing some tests in regards to speed and ease of use versus Resolve. I’ll be writing up a full review and my thoughts and opinions here.
Just got two of these bad boys from Teradek to test out. I have a series of interviews in which I need to have a low profile setup so this is going to be a perfect scenario in which I can test this out. Very excited to try these out. I hope, if all goes well, that this will revolutionize how I do on set color by controlling the look directly from the camera side instead of down the pipeline.
F55 Vinyl Workflow
We shot Sony 4K RAW for Vinyl, for the entire run of the show. Something like 220TB of information by the end of the season. And I was almost always wrapped and on the truck 30 minutes after they called wrap. So how did I manage to deal with 2 cameras shooting 130MBps? More on that later.
Odd Mom Out season 2 workflow
Dual Alexas shooting ProRes4444 HD (and more on why we chose that for season 1 as well) with changing on how we work on the fly with post.
Virtual Reality and You
VR creates a whole new issue in regards to the role of the DIT and on set workflows. I dive deeper into how to effectively media manage, live stitching with windows, as well as getting into doing quick on site stitching to be able to preview the scenes just shot.