Interview with Jonny Elwyn

It’s been a while since I last posted, but for good reason. I’ve been on Odd Mom Out Season 3 since February, and wrapped that and currently on The Marvelous Mrs Maisel Season 1 until August (plus I just finished building a home color suite in my house, that will have it’s own post soon).

I went pretty in-depth with Jonny about my work as a DIT as well as my DP work (www.charlieandersondp.com for those interested) and here’s the link.


Enjoy! Its about a 30 minute read or so. Let me know what you think.


Render, Render, Render

I got into a discussion with someone on the Epic-W page on FB about if a RRX works or not with Helium footage.  Well I can say without a doubt that no it does not, at least not on a Mac (I don’t have a TB3 enclosure or a pc laptop to test it out on.  I do have my desktop that I can throw the RRX in later to do a final test on).

Here’s what Jarred Land says on fb:

Here’s what RED says, officially, on their own site:


Now, what does high-performance GPU mean exactly? Well I have a maxed out trashcan (mac pro) and here’s what I was getting for render times on 8KWS footage 7:1 set to 1080 ProResLT (this btw is a realistic look at what your render times on set will be, I don’t know any editor who wants 4K DPX files delivered to them).

Here’s my specs, just so you know what I’m working with here:


Here’s the footage I’m working with, as per RCX:


The footage is on my desktop and also rendering directly to my desktop also, it’s the 500gb flash storage option for reference. Here’s the R/W speed from Disk Speed Test, also so you know what I’m working with:

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And finally, here’s the export settings I used:

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Here’s the render time for 1 minute of footage set to 1080 ProResLT (I have 2 exports because there’s no “completed in” section, so you look at the start time for both exports) WITHOUT a RRX:


It’s about 2:37 per 1 minute of footage, not terrible but not great.

And here’s the same footage WITH the RRX enabled, the RRX screen up to prove the point that it’s enabled:

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Again, it’s about the same time, actually slightly longer render time of 2:42 with the RRX enabled.

There you go, real testing done here, no alternative facts 😉

Epic-W 8K,7K,6K, all the Ks

Recently I found myself as an owner of a Epic-W (specifically #434) and I’ve been shooting a bit with it in conjunction with my Leica Summicrons, and I have to say I’m pretty excited about this camera.


As a DIT I have to be camera indifferent, I can’t have a sway to one or the other due to the fact that you could work with any camera at any given time (I worked with the F55 for 6 months on Vinyl), but you do have to know every camera as well (and it’s pluses and negatives) in how to work with it best and to give advice to DPs.

And I have to say that Red knocked it out of the park with the helium sensor.  It’s a phenomenal sensor and FINALLY the magenta issue has been fixed from the days of the dragon (as well as some clean high ISO scenarios).

That being said, I went ahead and shot some resolution tests to showcase all the different FOV options with the resolution differences.

I shot these on a 25mm at 2′, 800ISO, 3200k, T2.


These are set to the entirety of the scale in which they are set (no frame guides) and is set to RedColor2/RedGamma4 (btw really excited about the new color science coming soon). I didn’t move the camera at all, just used fool control to change it all btw.

FYI if you click on the photos you can see them in full resolution.  I definitely don’t recommend doing that if you’re looking at this on cellular data (wifi only!).

8K FF (8192 x 4320)


8K 2:1 (8192 x 4096)


8K WS (8192 x 3456, I actually chuckled at this one)


8K HD (7680 x 4320)


8K 3:2 (6480 x 4320)


7K FF (7168 x 3780)


7K 2:1 (7168 x 3584)


7K WS (7168 x 3024)


7K HD (6720 x 3780)


6K FF (6144 x 3240)


6K 2:1 (6144 x 3072)


6K WS (6144 x 2592)


6K HD (5760 x 3240)


6K 3:2 (5760 x 3840)


5K FF (5120 x 2700)


5K 2:1 (5120 x 2560)


5K WS (5120 x 2160)


5K HD (4800 x 2700)


4K FF (4096 x 2160)


4K 2:1 (4096 x 2048)


4K WS (4096 x 1728)


4K HD (3840 x 2160)


3K FF (3072 x 1620)


3K 2:1 (3072 x 1536)


3K WS (3072 x 1296)


3K HD (2880 x 1620)


2K FF (2048 x 1080)


2K 2:1 (2048 x 1024)


2K WS (2048 x 864)


2K HD (1920 x 1080)


And then here’s all the different versions in a row.

FF (8K, 7K, 6K, 5K, 4K, 3K, 2K respectively)


WS (8K, 7K, 6K, 5K, 4K, 3K, 2K respectively)


And finally HD (8K, 7K, 6K, 5K, 4K, 3K, 2K respectively)


Coming Attractions

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.



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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.


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Teradek COLR

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.


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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.

DIT Folder Structure

While I was waiting on some people to get back to me for a checkout for an upcoming TV show I decided to put together a little program to help with creating default folder structures that I typically use, so now I’m making that available to everyone else as well!

Here’s how it works:

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You double click the icon, and it will ask you for a day.  I tend to use the date in the fashion of year, month, day, but you can modify it to be whatever you want, such as DAY01, DAY25, etc.

It will default to the desktop, so you should choose where you want this to go by hitting OTHER and then pointing to what destination you want the folder structure to populate.

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Then it will ask you for a camera name.

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Such as the F55, Epic, Alexa, etc.

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Once you hit continue, it will automatically populate all the folder structures and all that jazz

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And that’s it! You can find the link for the program here.


Updates are coming, I promise!

Hey all, sorry I haven’t updated this in a while, I’ve been extremely busy and haven’t really had the time to do a proper update.  Since Animal Rescue I’ve been on 3 films and a very interesting short film/ commercial (more on that later when I do the actual post).  Also I made some new purchases AND redisgned my cart to be able to have up to 4 cameras running any any time.


More to come soon! Most likely next week when I have my next set of days off.