American Cinematographer - February 2010 - 79

i Spec 24K LE! SA al , Cable, llast, Bulbtified. Ba Includes ead. ETL Cer . H 45.7732 and : (818) 3 etails Call for d The PowerMills G4. A Bold New 24/18/12kW Lighting Fixture. The dynamic new design of the G4 features advanced sockets for easy mounting of all 24/18/12kW globes and provides greater airflow that lowers the operating temperatures. An early investment in Red One cameras transformed Offhollywood from a “guerrilla” post house to the front-to-back production facility it is today. cameras, in 2007, Pederson and Sanchez tested and posted footage every day, untangling the kinks while consulting with productions and teaching the mechanics to other rental houses. Eventually, Offhollywood landed a project called Asylum Seekers, an experimental feature by a young director named Ronia Ajami; it was one of the first features to shoot fully with Red cameras. Soon thereafter, director/cinematographer Doug Liman used Offhollywood’s Red cameras for additional photography on his 2008 feature Jumper. At press time, Liman was finishing post at Offhollywood on the feature Fair Game, which was shot entirely with the company’s Reds. Pederson says Offhollywood’s early work with the Red helped the company define its own workflow for the camera. “It was very much a moving target because the camera was such a moving target — there were always new firmware builds,” he notes, adding that both Reds received six firmware updates while Asylum Seekers was in production. “A lot of people say the Red workflow is a problem, and that frustrates me so much because there is no such thing as ‘a Red workflow.’ There are a bunch of workflows.” The camera captures compressed information in Redcode RAW, with unprocessed proxies viewable as 2K Quick- Time files for immediate review of “dailies.” Once the QuickTime proxies are logged and captured in 2K, 3K or 4K, Offhollywood typically edits footage in Final Cut Pro, does color-grading using Assimilate Scratch, and uses a Digital Video Systems Clipster 3 for both 2-D and 3-D DCP creation. The company still uses the same AJA Kona 3 Video System it initially purchased, which Pederson notes is a highly efficient solution for image capture and HD conversion. He emphasizes, though, that each production’s workflow depends on the importance of the dailies and the needs of the filmmakers. John “Pliny” Eremic, chief operating officer and director of postproduction, notes that although Offhollywood is the only authorized Red service center on the East Coast, “we don’t just cater to Red.” The company also offers post services for projects originating on other digital platforms, as well as 35mm and 16mm film. (The company has a partnership with FotoKem in Burbank whereby Offhollywood sends film to FotoKem for digital transfer.) To date, Offhollywood has provided cameras and technical support for 14 features and has done second-unit and post work for 23 others. Pederson and Sanchez have welcomed colorists Robbie Renfrow and Milan Boncich and senior DI/visual-effects artist Jim Geduldick to the team, and the Contact PowerMills for a FREE brochure. LITHIUMion The Lithium Ion Battery Belt A New Approach To Battery Power Contact PowerMills today and we’ll send you a FREE brochure… Discover all of the advantages this revolutionary portable battery belt offers. PowerMills. The BLUE belt in alternative power. POWERMILLS 4469 Ellenita Avenue Tarzana, California 91356 818/345.7732 • 818/881.1148 Fax Cell: 818/970.7732 wally@powermills.com www.powermills.com © COPYRIGHT 2010 POWERMILLS CORPORATION. All rights reserved.

http://www.powermills.com http://www.powermills.com

American Cinematographer - February 2010

Table of Contents for the Digital Edition of American Cinematographer - February 2010