Digital Video - November 2008 - (Page 30)

PRIME MOVER ProRes, the size of the ProRes files are the same size as SD, so suddenly you have a lot more room to store your images. We do it in parallel drives, so we’re working entirely in ProRes but we’re also mirroring it in 4K in case we need to go back to those files. We do go back a fair amount because we’re blowing a shot up or reframing. That’s another giant advantage to digital images; with film, you can blow up the image 10%, maybe 15% because your quality goes to crap. We’re regularly blowing our footage up 200 to 250%. So how large is your storage? With the 4K mirrored files and all our effects and ProRes, we’re holding regularly somewhere between 70 and 90 terabytes for the series. How has the overall process, the writing process or the development process changed now that you’re going into digital production? We don’t edit ourselves as much as we used to because we have greater creative possibilities. For instance, I did a TV series in 1997 called The Visitor, which we shot on film, and while we had a lot of effects in it, we had to be very careful which effects we included and how we did it. We took a lot of care in the writing to pick and choose what effects the episode would include. Now I tell the guys, “Things you think are gonna be too difficult are probably going to be easy and the things you think are going to be easy are going to be insanely difficult! Just write it and we’ll figure out how to do it later.” It has changed how the production works on set, though. I have to talk to all my directors and tell them it IS different with HD and embrace those differences. I encourage them to cut much less often and just keep the energy and go back to one. Unless they need to change something in the set or they don’t like someone’s hair or the costume, rather than say cut, we just go back to one because there is this great energy in just going and doing it again and again, and the actors get getter without that break. We also get interesting improvisations that come up. Before, when we were shooting with film, you didn’t want to have an improv, you don’t want to waste the film. Now we’re finding a lot of the great moments in the show are happening unexpectedly in takes that go on longer than you normally would or in the reset. Of course, this drives our editors nuts ’cause they’re like, “How many times did you do it on this take?” But it’s been really great for us creatively, and it’s helped us get more done in a day. In addition, we’re able to do everything in house — and I mean everything. Our whole post; we do the entire post process ourselves. We take the hard drives from production and they go straight to our office, where we do the editing, the digital effects, the sound effects, the music editing, the ADR, the color correction; we do everything in our house and it’s all through a combination of the Apple software and the Windows software, Shake and Maya. The editor will literally be cutting — in full resolution — he’ll look at a shot and say, “Oh that should be an effects shot,” then he’ll right-click it and select “send to Shake,” and it shows up in the other room for the Shake artist. They do the work, hit save and it www.dv.com http://rushworksmedia.com http://rushworksmedia.com http://www.dv.com

Table of Contents Feed for the Digital Edition of Digital Video - November 2008

Digital Video - November 2008 Contents AG-HMC150 Camcorder I-Cuff Eyepiece Protector Instant Expert Avid Media Composer 3.0 DT-B9L 1DU Monitor Flolight LCD500 Dark Red Close-Up: Chop Shop Socky Prime Mover Tools & Technology: DV Expo Toolkit Click to Play DV101 Production Diary

Digital Video - November 2008

For optimal viewing of this digital publication, please enable JavaScript and then refresh the page. If you would like to try to load the digital publication without using Flash Player detection, please click here.