This is the workflow and etiquette that is tried and tested and that I use on all of my commercials, features and music videos.
Many people have asked about how I am processing these huge files from the Canon 1D C and its powerful 4K in camera capture. Here is how we roll it out.
Lance Maurer and his team at Cinnafilm developed the Dark Energy Suite, a revolutionary texture management system. This is how I was able to seamlessly cut film and the Canon 5D MkII together on Act of Valor.
The Codex S Recorder is incredibly lightweight and gives you assurance that your negative is under lock and key. See how we are using it on Need for Speed.
We look at some workflow options for getting both the CinemaDNG and ProRes files out of the Blackmagic Cinema Camera and into the NLE of your choice.
Testing the new Gemini 4K RAW Recorder. I am all about keeping things compact and mobile, and the Gemini has this in spades. It is very small and has a very cool on-board monitor so that you can immediately check the digital gate.
Imagine a world where the loader returns to the darkroom to process footage. The Codex Vault is just that.
The Elite Team and I have been using the HP Elitebook 8770w Mobile Workstation, and it has allowed us to reshape and slim down our workflow.
My name is Mike McCarthy, and as the production engineer for Act of Valor, I worked with Shane and his team in developing solutions to the obstacles presented by early DSLR filmmaking, both on set and in post.
The past 3 years have been a very exciting time to be a filmmaker with the many changes in digital [...]
After completing the Navy SEAL movie Act of Valor, my team and I created a workflow and camera [...]
Over the last 6 months, I have been under a Non-Disclosure Agreement (NDA) with a company out of [...]
About a month ago, Shane asked me to join the Elite Team as his editor. There’s an old saying: [...]
The first step of media management is to have a place where you can backup your source files. Depending on what operating system (Mac or PC) your editor will be using, you want to format your drives accordingly.
The first time I met Shane was at Bandito Brothers last year, when he asked me to edit “The Last 3 Minutes.” I had worked for the Banditos as a freelance editor for 3 years and had cut [...]
At first glance with the Canon 5D you notice one thing, the minute you plug a mini HDMI cable or a 1/8” mini plug into the outputs on the camera, your LCD screen disappears. It is like a sick magic trick that for some reason, not one person can figure out.
Here is the much anticipated post-production work flow blog that you have been asking for from Mike McCarthy, our technology guru. Please visit Mike’s site at hd4pc.com for even more in-depth technical information on the post-production work flow process.
I am Mike McCarthy, the Director of Technology at Bandito Brothers. I have been working with Bandito Brothers since the company started in 2006, and have been involved with projects using almost any format imaginable. (Film, SR, HDCam, XD, EX, P2, Red, Si2K, and DSLR among others) I work with many different hardware and software companies through their beta and development programs, to find the best solutions to the work flow problems presented by new formats and tools. I also document many of the solutions I come across on my own website hd4pc.com, and do occasional consulting work for companies that are trying to adapt their existing work flow to new tools and formats.
At Bandito Brothers, we have been working with Shane over the past year or so, to really push the Canon DSLR work flow to the limits. This is in regards to both visual quality and organizational efficiency, factors which are both critical to being able to scale the Canon DSLR video work flow up to larger projects. Hopefully the things we have learned from this process, and presented here, will be of benefit to others who are sure to find themselves in similar situations.
In the world of HDSLR technology, media management is a very important position. Every Elite Team member has held this position at some point during the untitled Navy Seal Movie to gain an understanding of HD image capture in a small footprint work-flow system.
Here is the breakdown for the Mountain Rescue portion of Navy Swimmer.
– 1-camera in deep water housing which captures underwater and split level shots
– 1-camera mounted on the Navy Swimmers helmet to capture him exiting the helicopter and being lowered down in between the rocks…