SHOOT STORY | OUTLAW K I NG
transcodes done and then get them to the edit really quickly. But because of QC implications they don’t allow it, so you have to download the full 8K. I think what we ended up doing was a drag and drop copy just to get it over as quickly as possible, then coloured and transcoded. Then the card would go off to the other station for the full verified offload, which would take time. “The lab was in the back of a truck. Because the turnarounds were so quick and the locations so remote, it was too difficult to split the camera and the lab so we had at least two data managers working in the back of a truck the whole time, which I know for them was difficult in terms of power. We tried at one point satellite and Internet transfer to get that back to the edit but it was never fast enough in our remote location in Scotland. BELOW Video playback operator James Edgcombe and DIT Sam Spurgeon set up for a shot at Glasgow Cathedral. The dailies pipeline was unique, due to the director’s wish to edit each day’s material at the end of the day
the buildings we filmed at were more accessible, and allowed us to wheel bigger rigs onto set.” PIPELINE The dailies pipeline was unique, due to the director’s wish to edit each day’s material at the end of the day – and there was a lot of data with so many cameras shooting. “Having a near-set lab and up to five daily rushes runs to the editorial department helped facilitate the process, as well as Jo Barker, the lab manager, being able to turn around quality dailies grades very quickly. The Raw compression scheme offered by the DXLs and REDs meant that 8K offload times weren’t as time-consuming as they could combine achieving that as well as working in this crazy remote location – it was quite a tall order, which we fulfilled by having constant rushes drivers taking drives to the edit; as soon as we got our cards in, they would be transcoded and sent off straight away rather than the usual split at lunchtime type of rule. That was one of the ways we did it, but that still didn’t get round crunching all the data – we had separate data stations, so we had two people in our lab downloading. “The other wrinkle was that Netflix didn’t allow us to create dailies from proxy files. The Weapon and DXL do shoot proxies, which would have been great as you can just take the cards out, get the have been, and RED Rocket cards sped up the transcode process for us, too. “So we were trying to
monitors were the real workhorses of the show and featured on all the various rigs we ended up using). They were mounted on a number of different rigs, from a simple C stand to a cart with a low centre of gravity equipped with large, off-road wheels. 8K HEAVEN All these cameras, apart from the Alexa Mini, were capable of shooting 8K so that is six possible 8K cameras churning out data in the middle of the Scottish countryside. “There was a lot of 8K, but a lot of A camera stuff was shot around 5K so it was a mix of resolutions – but on the whole it was lots of data. A lot of cameras were turning over a lot of the time and what made this shoot particularly challenging was that our director had a desire to be able to edit what he saw that day, straight after we had wrapped. “We shot at a lot of remote locations, protected sites and other areas that presented their own unique challenges. As a result, our on-set kit had to be fairly flexible depending on what was needed that day. It ranged from a full LiveGrade set-up with calibrated OLED monitors, waveforms, switchers and LUT boxes, right down to a skeleton set-up comprising battery powered Odysseys and IRIS handsets. “We offered as many services as the locations would allow us to. Some places required us to drive through rivers in 4x4s and then hike up mountains in bad weather conditions, so these tended to be serviced by a paired-down solution, but some of
DID YOU KNOW? Barry Ackroyd used
Panavision Anamorphic G series, E Series; AWZ2.3 37-85mm and SL14.5 CF
18 DEF I N I T ION | NOVEMBER 20 1 8
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