During Cine Gear recently, Sim announced a 30-year sponsorship with the American Society of Cinematographers (ASC). Sim offers end-to-end solutions for creatives in film and television, and the ASC is a nonprofit focusing on the art of cinematography. As part of the relationship, the ASC Clubhouse courtyard will now be renamed Sim Plaza.
Sim and the ASC have worked together frequently on events that educate industry professionals on current technology and its application to their evolving craft. As part of this sponsorship, Sim will expand its involvement with the ASC Master Classes, SimLabs, and conferences and seminars in Hollywood and beyond.
During an official ceremony, a commemorative plaque was unveiled and embedded into the walkway of what is now Sim Plaza in Hollywood. Sim will also host a celebration of the ASC’s 100th anniversary in 2019 at Sim’s Hollywood location.
What else does this partnership entail?
• The two organizations will work together closely over the next 30 years on educational events for the cinematography community. Sim’s sponsorship will help fund society programs and events to educate industry professionals (both practicing and aspiring) on current technology and its application to the evolving craft.
• The ASC Master Class program, SimLabs and other conferences and seminars will continue on over these 30 years with Sim increasing its involvement. Sim is not telling the ASC what kind of initiatives they should be doing, but is rather lending a helping hand to drive visual storytelling forward. For example, they have already hosted ASC Master Class sessions in Toronto and Hollywood, sponsored the annual ASC BBQ for the last couple of years, and founder Rob Sim himself is an ASC associate member.
How will the partnership will increase programming and resources to support the film and television community for the long term?
• It has a large focus on three things: financial resources, programming assistance and facility support.
• It will provide access and training with world-class technology in film and television.
• It will offer training directly from industry leaders in Hollywood and beyond
• It will develop new programs for people who can’t attend ASC Master Class sessions, such as an online experience, which is something ASC and Sim are working on together.
• It will expand SimLabs beyond Hollywood —with the potential to bring it to Vancouver, Atlanta, New York and Toronto with the goal of creating new avenues for people who are associated with the ASC and who know they can call on Sim.
• It will bring volunteers. Sim has many volunteers on ASC committees, including the Motion Imaging Technology Council and its Lens committee.
Main Image: L-R: Sim President/CEO James Haggarty, Sim founder and ASC associate member Rob Sim,ASC events coordinator Patty Armacost and ASC president Kees van Oostrum.
In the last few months, we have seen the release of the Red Monstro, Sony Venice, Arri Alexa LF and Canon C700 FF, all of which have larger or full-frame sensors. Full frame refers to the DSLR terminology, with full frame being equivalent to the entire 35mm film area — the way that it was used horizontally in still cameras. All SLRs used to be full frame with 35mm film, so there was no need for the term until manufacturers started saving money on digital image sensors by making them smaller than 35mm film exposures. Super35mm motion picture cameras on the other hand ran the film vertically, resulting in a smaller exposure area per frame, but this was still much larger than most video imagers until the last decade, with 2/3-inch chips being considered premium imagers. The options have grown a lot since then.
L-R: 1st AC Ben Brady, DP Michael Svitak and Mike McCarthy on the monitor.
Most of the top-end cinema cameras released over the last few years have advertised their Super35mm sensors as a huge selling point, as that allows use of any existing S35 lens on the camera. These S35 cameras include the Epic, Helium and Gemini from Red, Sony’s F5 and F55, Panasonic’s VaricamLT, Arri’s Alexa and Canon’s C100-500. On the top end, 65mm cameras like the Alexa65 have sensors twice as wide as Super35 cameras, but very limited lens options to cover a sensor that large. Full frame falls somewhere in between and allows, among other things, use of any 35mm still film lenses. In the world of film, this was referred to as Vista Vision, but the first widely used full-frame digital video camera was Canon’s 5D MkII, the first serious HDSLR. That format has suddenly surged in popularity recently, and thanks to this I recently had opportunity to be involved in a test shoot with a number of these new cameras.
Keslow Camera was generous enough to give DP Michael Svitak and myself access to pretty much all their full-frame cameras and lenses for the day in order to test the cameras, workflows and lens options for this new format. We also had the assistance of first AC Ben Brady to help us put all that gear to use, and Mike’s daughter Florendia as our model.
First off was the Red Monstro, which while technically not the full 24mm height of true full frame, uses the same size lenses due to the width of its 17×9 sensor. It offers the highest resolution of the group at 8K. It records compressed RAW to R3D files, as well as options for ProRes and DNxHR up to 4K, all saved to Red mags. Like the rest of the group, smaller portions of the sensor can be used at lower resolution to pair with smaller lenses. The Red Helium sensor has the same resolution but in a much smaller Super35 size, allowing a wider selection of lenses to be used. But larger pixels allow more light sensitivity, with individual pixels up to 5 microns wide on the Monstro and Dragon, compared to Helium’s 3.65-micron pixels.
Next up was Sony’s new Venice camera with a 6K full-frame sensor, allowing 4K S35 recording as well. It records XAVC to SxS cards or compressed RAW in the X-OCN format with the optional ASX-R7 external recorder, which we used. It is worth noting that both full-frame recording and integrated anamorphic support require additional special licenses from Sony, but Keslow provided us with a camera that had all of that functionality enabled. With a 36x24mm 6K sensor, the pixels are 5.9microns, and footage shot at 4K in the S35 mode should be similar to shooting with the F55.
We unexpectedly had the opportunity to shoot on Arri’s new AlexaLF (Large Format) camera. At 4.5K, this had the lowest resolution, but that also means the largest sensor pixels at 8.25microns, which can increase sensitivity. It records ArriRaw or ProRes to Codex XR capture drives with its integrated recorder.
Another other new option is the Canon C700 FF with a 5.9K full-frame sensor recording RAW, ProRes, or XAVC to CFast cards or Codex Drives. That gives it 6-micron pixels, similar to the Sony Venice. But we did not have the opportunity to test that camera this time around, maybe in the future.
One more factor in all of this is the rising popularity of anamorphic lenses. All of these cameras support modes that use the part of the sensor covered by anamorphic lenses and can desqueeze the image for live monitoring and preview. In the digital world, anamorphic essentially cuts your overall resolution in half, until the unlikely event that we start seeing anamorphic projectors or cameras with rectangular sensor pixels. But the prevailing attitude appears to be, “We have lots of extra resolution available so it doesn’t really matter if we lose some to anamorphic conversion.”
So what does this mean for post? In theory, sensor size has no direct effect on the recorded files (besides the content of them) but resolution does. But we also have a number of new formats to deal with as well, and then we have to deal with anamorphic images during finishing.
Ever since I got my hands on one of Dell’s new UP3218K monitors with an 8K screen, I have been collecting 8K assets to display on there. When I first started discussing this shoot with DP Michael Svitak, I was primarily interested in getting some more 8K footage to use to test out new 8K monitors, editing systems and software as it got released. I was anticipating getting Red footage, which I knew I could playback and process using my existing software and hardware.
The other cameras and lens options were added as the plan expanded, and by the time we got to Keslow Camera, they had filled a room with lenses and gear for us to test with. I also had a Dell 8K display connected to my ingest system, and the new 4K DreamColor monitor as well. This allowed me to view the recorded footage in the highest resolution possible.
Most editing programs, including Premiere Pro and Resolve, can handle anamorphic footage without issue, but new camera formats can be a bigger challenge. Any RAW file requires info about the sensor pattern in order to debayer it properly, and new compression formats are even more work. Sony’s new compressed RAW format for Venice, called X-OCN, is supported in the newest 12.1 release of Premiere Pro, so I didn’t expect that to be a problem. Its other recording option is XAVC, which should work as well. The Alexa on the other hand uses ArriRaw files, which have been supported in Premiere for years, but each new camera shoots a slightly different “flavor” of the file based on the unique properties of that sensor. Shooting ProRes instead would virtually guarantee compatibility but at the expense of the RAW properties. (Maybe someday ProResRAW will offer the best of both worlds.) The Alexa also has the challenge of recording to Codex drives that can only be offloaded in OS X or Linux.
Once I had all of the files on my system, after using a MacBook Pro to offload the media cards, I tried to bring them into Premiere. The Red files came in just fine but didn’t play back smoothly over 1/4 resolution. They played smoothly in RedCineX with my Red Rocket-X enabled, and they export respectably fast in AME, (a five-minute 8K anamorphic sequence to UHD H.265 in 10 minutes), but for some reason Premiere Pro isn’t able to get smooth playback when using the Red Rocket-X. Next I tried the X-OCN files from the Venice camera, which imported without issue. They played smoothly on my machine but looked like they were locked to half or quarter res, regardless of what settings I used, even in the exports. I am currently working with Adobe to get to the bottom of that because they are able to play back my files at full quality, while all my systems have the same issue. Lastly, I tried to import the Arri files from the AlexaLF, but Adobe doesn’t support that new variation of ArriRaw yet. I would anticipate that will happen soon, since it shouldn’t be too difficult to add that new version to the existing support.
I ended up converting the files I needed to DNxHR in DaVinci Resolve so I could edit them in Premiere, and I put together a short video showing off the various lenses we tested with. Eventually, I need to learn how to use Resolve more efficiently, but the type of work I usually do lends itself to the way Premiere is designed — inter-cutting and nesting sequences with many different resolutions and aspect ratios. Here is a short clip demonstrating some of the lenses we tested with:
This is a web video, so even at UHD it is not meant to be an analysis of the RAW image quality, but instead a demonstration of the field of view and overall feel with various lenses and camera settings. The combination of the larger sensors and the anamorphic lenses leads to an extremely wide field of view. The table was only about 10 feet from the camera, and we can usually see all the way around it. We also discovered that when recording anamorphic on the Alexa LF, we were recording a wider image than was displaying on the monitor output. You can see in the frame grab below that the live display visible on the right side of the image isn’t displaying the full content that got recorded, which is why we didn’t notice that we were recording with the wrong settings with so much vignetting from the lens.
We only discovered this after the fact, from this shot, so we didn’t get the opportunity to track down the issue to see if it was the result of a setting in the camera or in the monitor. This is why we test things before a shoot, but we didn’t “test” before our camera test, so these things happen.
We learned a lot from the process, and hopefully some of those lessons are conveyed here. A big thanks to Brad Wilson and the rest of the guys at Keslow Camera for their gear and support of this adventure and, hopefully, it will help people better prepare to shoot and post with this new generation of cameras.
Main Image: DP Michael Svitak
Mike McCarthy is an online editor/workflow consultant with 10 years of experience on feature films and commercials. He has been involved in pioneering new solutions for tapeless workflows, DSLR filmmaking and multi-screen and surround video experiences. Check out his site.
Six new companies have been added to the ACES Logo Program. Membership in the program signals that the companies are committed to implementing ACES into their hardware and software products in conformance with program specifications for consistency and quality. ACES is the global standard for color management, digital image interchange and archiving.
“ACES has given us a solid framework to efficiently solve issues, along with options, to maintain creative control for our productions. It provides much needed transparency, connecting and standardizing the workflows from on-set, dailies, VFX, DI and archival,” says Victoria Alonso, EVP, Physical Production, Marvel Studios. “Standards are important — they help studios protect and monetize our films for years, and they also help create a healthy ecosystem of suppliers and professionals who can reliably work on sophisticated productions because they know the infrastructure beneath them is solid. Standards like ACES give us a common language for applications and pipelines to connect without compromising translations and misunderstandings, and to protect the creative workflow established by filmmakers. We see ACES as an important component in allowing the industry to innovate and work at the highest levels of our craft.”
The new ACES Logo Program partner companies are:
– Color Trix, makers of Color Finale, a color correction add-on to Final Cut Pro X.
– DJI, makers of drones, camera accessories and systems, including the Zenmuse X7, a Super35mm cinema-grade camera.
– In2Core, makers of the QTake video assist system.
– Laser Graphics, makers of film scanning systems: DirectorScanner, Director10K scanner and ScanStation.
– Vision Research, makers of the Phantom line of high-speed cameras.
– WowWow Entertainment, makers of the IS Mini LUT Box.
These six companies join the existing manufacturers of cinema cameras, color correctors, monitors, on-set tools, animation and compositing software who are already part of ACES Product Partners.
Hecho En 72 has expanded its North American operations to allow for continued growth in both Los Angeles and New York. It will now be known as Hecho Studios under the MDC Partners network of companies. Hecho, is a content development and production company that originally was grown as part of 72andSunny, but is now a separate entity. While they still work closely, and share the same space in New York and LA, they operate independently.
As part of this growth, Tom Dunlap, who was previously chief production officer at 72andSunny, has assumed the position of managing director of the company. He will be responsible for driving all aspects of growth, operations and production.
Hecho Studios will be led creatively by executive creative director, Gui Borchert, who most recently served as group creative director at 72andSunny for the last four years, working on projects for Starbucks, Sonos and the LA Olympic bid.
“In a time where marketing takes any form, how brands make content is just as important as what they make,” says Dunlap. “We have built and are growing Hecho Studios to help brands amplify creative opportunities and modernize production and content creation to maximize quality, efficiency and impact,” says Borchert.
Hecho’s past work includes the production of Sugar Coated, a short documentary featured in 18 film festivals in partnership with 72U, two Emmy nominations for their work on Google — Year in Search, editorial, print and product design for the award-winning LA Original campaign, and the recent short parody film featuring Will Ferrell and Joel McHale for The Hammer Museum at UCLA’s latest exhibition, Stories of Almost Everyone.
Hecho’s production offerings includes building models based on the client’s creative needs. This can range anywhere from a small table-top product shoot to a large scale narrative film and include live-action, photography, stop-motion, time-lapse, narrative, documentary and both short and long form.
Hecho offers full service audio post, specializing in commercial and branded content for broadcast TV, cinema, digital and radio. Their studios are equipped with two Avid S6 mixing consoles and JBL-M2 surround stage (7.1, 5.1) and spatial audio (VR) capabilities. Services include sound design, mixing, field recording, Foley, voice-over/ADR recording, Source-Connect/ISDN and music editorial and licensing.
Hecho’s post offerings include editorial, motion graphics and finishing. Their edit suites integrate all editing platforms, including Adobe Premiere, Avid and Final Cut Pro. Their motion graphics team uses After Effects, Cinema 4D and Maya animations. Hecho has two Flame suites to address requests for clean-up, conform and VFX. They also use Blackmagic Resolve for color grade needs.
Main Image Caption: (L-R) Gui Borchert and Tom Dunlap.
PNY, a company best known in the media and entertainment industry as the manufacturer of Nvidia’s Quadro line of professional graphics cards, is now offering a powerful mobile workstation. While PNY makes a variety of other products, mostly centered around memory and graphics cards, the PrevailPro is their first move into offering complete systems.
Let’s take a look at what’s inside. The PrevailPro is based on Intel’s 7th generation Core i7 7700HQ Quad-Core Hyperthreaded CPU, running at 2.8-3.8GHz. It has an HM175 chipset and 32GB of dual-channel DDR4 RAM. At less than ¾-inch thick and 4.8 pounds, it also has an SD card slot, fingerprint reader, five USB ports, Gigabit Ethernet, Intel 8265 WiFi, and audio I/O. It might not be the lightest 15-inch laptop, but it is one of the most powerful. At 107 cubic inches, it has half the volume of my 17-inch Lenovo P71.
The model I am reviewing is their top option, with a 512GB NVMe SSD, as well as a 2TB HDD for storage. The display is a 15.6-inch UHD panel, driven by the headline feature, a Quadro P4000 GPU in Max-Q configuration. With 1792 CUDA cores, and 8GB of GDDR memory, the GPU retains 80% of the power of the desktop version of the P4000, at 4.4 TFlops. Someone I showed the system to joked that it was a PNY Quadro graphics card with a screen, which isn’t necessarily inaccurate. The Nvidia Pascal-based Quadro P4000 Max-Q GPU is the key unique feature of the product, being the only system I am aware of in its class — 15-inch workstations — with that much graphics horsepower.
This top-end PrevailPro system is ProVR certified by Nvidia and comes with a full complement of ports, offering more display options than any other system its size. It can drive three external 4K displays plus its attached UHD panel, an 8K monitor at 60Hz or anything in between. I originally requested to review this unit when it was announced last fall because I was working on a number of Barco Escape three-screen cinema projects. The system’s set of display outputs would allow me to natively drive the three TVs or projectors required for live editing and playback at a theater, without having to lug my full-sized workstation to the site. This is less of an issue now that the Escape format has been discontinued, but there are many other applications that involve multi-screen content creation, usually related to advertising as opposed to cinema.
I had also been looking for a more portable device to drive my 8K monitor — I wanted to do some on-set tests, reviewing footage from 8K cameras, without dragging my 50-pound workstation around with me — even my 17-inch P71 didn’t support it. Its DisplayPort connection is limited to Version 1.2, due to being attached to the Intel side of the hybrid graphics system. Dell’s Precision mobile workstations can drive their 8K display at 30Hz, but none of the other major manufacturers have implemented DisplayPort 1.3, favoring the power savings of using Intel’s 1.2 port in the chipset. The PrevailPro by comparison has dual mini-DisplayPort 01.3 ports, connected directly to the Nvidia GPU, which can be used together to drive an 8K monitor at 60Hz for the ultimate high-res viewing experience. It also has an HDMI 2.0 port supporting 4Kp60 with HDCP to connect your 4K TV.
It can connect three external displays, or a fourth with MST if you turn off the integrated panel. The one feature that is missing is Thunderbolt, which may be related to the DisplayPort issue. (Thunderbolt 3 was officially limited to DisplayPort 1.2) This doesn’t affect me personally, and USB 3.1 has much of the same functionality, but it will be an issue for many users in the M&E space — it limits its flexibility.
The integrated display is a UHD LCD panel with a matte finish. It seems middle of the line. There is nothing wrong with it, and it appears to be accurate, but it doesn’t really pop the way some nicer displays do, possibly due to the blacks not being as dark as they could be.
The audio performance is not too impressive either. The speaker located at the top of the keyboard aren’t very loud, even at maximum volume, and they occasionally crackle a bit. This is probably the system’s most serious deficiency, although a decent pair of headphones can improve that experience significantly. The keyboard is well laid out, and felt natural to use, and the trackpad worked great for me. Switching between laptops frequently, I sometimes have difficulty adjusting to changes in the function and arrow key positioning, but everything was where my fingers expected them to be.
Performance wise, I am not comparing it to other 15-inch laptops, because I don’t have any to test it against, and that is not the point of this article. The users who need this kind of performance have previously been limited to 17-inch systems, and this one might allow them to lighten their load — more portable without sacrificing much performance. I will be comparing it to my 17-inch and 13-inch laptops, for context, as well as my 20-core Dell workstation.
First off, with synthetic benchmarks, the SSD reports 1400MB/s write and 2000MB/s read performance, but the write is throttled to half of that over sustained periods. This is slower than some new SSDs, but probably sufficient because without Thunderbolt there is no way to feed the system data any faster than that. (USB 3.1 tops out around 800MB/s in the real world.)
The read speed allowed me to playback 6K DPX files in Adobe Premiere, and that is nothing to scoff at. The HDD tops out at 125MB/s as should be expected for a 2.5-inch SATA drive, so it will perform just like any other system. The spinning disk seems out of place in a device like this, where a second M.2 slot would have allowed the same capacity, at higher speeds, with size and power savings.
Here are its Cinebench scores, compared to my other systems:
System OpenGL CPU
PNY PrevailPro (P4000) 109.94 738
Lenovo P71 (P5000) 153.34 859
Dell 7910 Desktop (P6000) 179.98 3060Aorus X3 Plus (GF870) 47.00 520
The P4000 is a VR-certified solution, so I hooked up my Lenovo Explorer HMD and tried editing some 360 video in Premiere Pro 12.1. Everything works as expected, and I was able to get my GoPro Fusion footage to play back 3Kp60 at full resolution, and 5Kp30 at half resolution. Playing back exported clips in WMR worked in full resolution, even at 5K.
One of the unique features of this system is its support for an 8K display. Now, that makes for an awfully nice UI monitor, but most people buying it to drive an 8K display will probably want to view 8K content on it. To that end, 8K playback was one of the first things I tested. Within Premiere, DNxHR-LB files were the only ones I could get to play without dropping frames at full resolution, and even then only when they were scope aspect ratio. The fewer pixels to process due to the letterboxing works in its favor. All of the other options wouldn’t playback at full resolution, which defeats the purpose of an 8K display. The Windows 10 media player did playback 8K HEVC files at full resolution without issue, due to the hardware decoder on the Quadro GPU, which explicitly supports 8K playback. So that is probably the best way to experience 8K media on a system like this.
Now obviously 8K is pushing our luck with a laptop in the first place. My 6K Red files play back at quarter res, and most of my other 4K and 6K test assets play smoothly. I rendered a complex 5K comp in Adobe After Effects, and at 28 minutes, it was four minutes slower than my larger 17-inch system, and twice as fast as my 13-inch gaming notebook. Encoding a 10-minute file in DCP-O-Matic took 47 minutes in 2K, and 189 minutes in 4K, which is 15% slower than my 17-inch laptop.
The new 15-inch PrevailPro is not as fast as my huge 17-inch P71, as to be expected, but it is close in most tests, and many users would never notice the difference. It supports 8K monitors and takes up half the space in my bag. It blows my 13-inch gaming notebook out of the water and does many media tasks just as fast as my desktop workstation. It seems like an ideal choice for a power user who needs strong graphics performance but doesn’t want to lug around a 17-inch monster of a system.
The steps to improve it would be the addition of Thunderbolt support, better speakers, and an upgrade to Intel’s new 8th Gen CPUs. If I was still working on multi-screen theatrical projects, this would be the perfect system for taking my projects with me — same if I was working in VR more. I believe the configuration I tested has an MSRP of $4,500, but I find it online for around $4100. So it is clearly not the cheap option, but it is one of the most powerful 15-inch laptops available, especially if your processing needs are GPU intense. It is a well-balanced solution, for demanding users who need performance, but want to limit size and weight.
Mike McCarthy is an online editor/workflow consultant with 10 years of experience on feature films and commercials. He has been involved in pioneering new solutions for tapeless workflows, DSLR filmmaking and multi-screen and surround video experiences. Check out his site.
Chimney, an independent content company specializing in film, television, spots and digital media, has opened a new facility in New York City. For over 20 years, the group has been producing and posting campaigns for brands, such as Ikea, Audi, H&M, Chanel, Nike, HP, UBS and more. Chimney was also the post partner for the feature films Chappaquiddick, Her, Atomic Blonde and Tinker Tailor Soldier Spy.
With this New York opening, Chimney now with 14 offices worldwide. Founded in Stockholm in 1995, they opened their first US studio in Los Angeles last year. In addition to Stockholm, New York and LA, Chimney also has facilities in Singapore, Copenhagen, Berlin and Sydney among other cities. For a full location list click here.
“Launching in New York is a benchmark long in the making, and the ultimate expression of our philosophy of ‘boutique-thinking with global power,’” says Henric Larsson, Chimney founder and COO. “Having a meaningful presence in all of the world’s economic centers with diverse cultural perspectives means we can create and execute at the highest level in partnership with our clients.”
The New York opening supports Chimney’s mission to connect its global talent and resources, effectively operating as a 24-hour, full-service content partner to brand, entertainment and agency clients, no matter where they are in the world.
Chimney has signed on several industry vets to spearhead the New York office. Leading the US presence is CEO North America Marcelo Gandola. His previous roles include COO at Harbor Picture Company; EVP at Hogarth; SVP of creative services at Deluxe Entertainment Services Group; and VP of operations at Company 3.
Colorist and director Lez Rudge serves as Chimney’s head of color North America. He is a former partner and senior colorist at Nice Shoes in New York. He has worked alongside Spike Lee and Darren Aronofsky, and on major brand campaigns for Maybelline, Revlon, NHL, Jeep, Humira, Spectrum and Budweiser.
Managing director Ed Rilli will spearhead the day-to-day logistics of the New York office. As the former head of production of Nice Shoes, his resume includes producing major campaigns for such brands as NFL, Ford, Jagermeister and Chase.
Sam O’Hare, chief creative officer and lead VFX artist, will oversee the VFX team. Bringing experience in live-action directing, VFX supervision, still photography and architecture, O’Hare’s interdisciplinary background makes him well suited for photorealistic CGI production.
In addition, Chimney has brought on cinematographer and colorist Vincent Taylor, who joins from MPC Shanghai, where he worked with brands such as Coca-Cola, Porsche, New Balance, Airbnb, BMW, Nike and L’Oréal.
The 6,000-square-foot office will feature Blackmagic Resolve color rooms, Autodesk Flame suites and a VFX bullpen, as well as multiple edit rooms, a DI theater and a Dolby Atmos mix stage through a joint venture with Gigantic Studios.
Main Image: (L-R) Ed Rilli, Sam O’Hare, Marcelo Gandola and Lez Rudge.
Pace Pictures has opened a new sound and picture finishing facility in Hollywood. The 20,000-square-foot site offers editorial finishing, color grading, visual effects, titling, sound editorial and sound mixing services. Key resources include a 20-seat 4K color grading theater, two additional HDR color grading suites and 10 editorial finishing suites. It also features a Dolby Atmos mix stage designed by three-time Academy Award-winning re-recording mixer Michael Minkler, who is a partner in the company’s sound division.
The new independently-owned facility is located within IgnitedSpaces, a co-working site whose 45,000 square feet span three floors along Hollywood Boulevard. IgnitedSpaces targets media and entertainment professionals and creatives with executive offices, editorial suites, conference rooms and hospitality-driven office services. Pace Pictures has formed a strategic partnership with IgnitedSpaces to provide film and television productions service packages encompassing the entire production lifecycle.
“We’re offering a turnkey solution where everything is on-demand,” says Pace Pictures founder Heath Ryan. “A producer can start out at IgnitedSpaces with a single desk and add offices as the production grows. When they move into post production, they can use our facilities to manage their media and finish their projects. When the production is over, their footprint shrinks, overnight.”
Pace Pictures is currently providing sound services for the upcoming Universal Pictures release Mamma Mia! Here We Go Again. It is also handling post work for a VR concert film from this year’s Coachella Valley Music and Arts Festival.
Completed projects include the independent features Silver Lake, Flower and The Resurrection of Gavin Stone, the TV series iZombie, VR Concerts for the band Coldplay, Austin City Limits and Lollapalooza, and a Mariah Carey music video related to Sony Pictures’ animated feature Star.
Technical features of the new facility include three DaVinci Resolve Studio color grading suites with professional color consoles, a Barco 4K HDR digital cinema projector in the finishing theater, and dual Avid Pro Tools S6 consoles in the Dolby Atmos mix stage, which also includes four Pro Tools HDX systems. The site features facilities for sound design, ADR and voiceover recording, title design and insert shooting. Onsite media management includes a robust SAN network, as well as LTO7 archiving and dailies services, and cold storage.
Ryan is an editor who has operated Pace Pictures as an editorial service for more than 15 years. His many credits include the films Woody Woodpecker, Veronica Mars, The Little Rascals, Lawless Range and The Lookalike, as well as numerous concert films, music clips, television specials and virtual reality productions. He has also served as a producer on projects for Hallmark, Mariah Carey, Queen Latifah and others. Originally from Australia, he began his career with the Australian Broadcasting Corporation.
Ryan notes that the goal of the new venture is to break from the traditional facility model and provide producers with flexible solutions tailored to their budgets and creative needs. “Clients do not have to use our talent; they can bring in their own colorists, editors and mixers,” he says. “We can be a small part of the production, or we can be the backbone.”
Creative.Space, a division of DigitalGlue that provides on-premise managed storage (OPMS) as a service for production and post companies as well as broadcast networks, has added the Breathless system to its offerings. The product will make its debut at Cine Gear in LA next month.
The Breathless Next Generation Small Form Factor (NGSFF) media storage system offers 36 front-serviceable NVMe SSD bays in 1RU. It is designed for 4K, 6K and 8K uncompressed workflows using JPEG2000, DPX and multi-channel OpenEXR. There are 4TB of NVMe SSDs currently available, but a 16TB version will be available in later this year, allowing 576TB of Flash storage to fit in 1RU. Breathless performs 10 million random read IOPS (Input/Output Operations per Second) of storage performance (up to 475,000 per drive).
Each of the 36 NGSFF SSD bays connects to the motherboard directly over PCIe to deliver maximum potential performance. With dual Intel Skylake-SP CPUs and 24 DDR4 DIMMs of memory, this system is perfect for I/O intensive local workloads, not just for high-end VFX, but also realtime analytics, database and OTT content delivery servers.
Breathless’ OPMS features 24/7 monitoring, technical support and next-day repairs for an all-inclusive, affordable fixed monthly rate of $2,495.00, based on a three-year contract (16TB of SSD).
Breathless is the second Creative.Space system to launch, joining Auteur, which offers 120TB RAW capacity across 12 drives in a 24-bay 4 RU chassis. Every system is custom-built to address each client’s needs. Entry level systems are designed for small to medium workgroups using compressed 4K, 6K and 8K workflows and can scale for 4K uncompressed workflows (including 4K OpenEXR) and large multi-user environments.
DigitalGlue, an equipment, integration and software development provider, also designs and implements turnkey solutions for content creation, post and distribution.
Many of you might already know Terence Curren, owner of Burbank’s AlphaDogs, from his hosting of the monthly Editor’s Lounge, or his podcast The Terence and Philip Show, which he co-hosts with Philip Hodgetts. He’s also taken to producing fun, educational videos that break down the importance of color or ADR, for example.
He has a knack for offering simple explanations for necessary parts of the post workflow while hammering home what post pros bring to the table. You can watch them here:
I reached out to Terry to find out more.
How do you pick the topics you are going to tackle? Is it based on questions you get from clients? Those just starting in the industry?
Good question. It isn’t about clients as they already know most of this stuff. It’s actually a much deeper project surrounding a much deeper subject. As you well know, the media creation tools that used to be so expensive, and acted as a barrier to entry, are now ubiquitous and inexpensive. So the question becomes, “When everyone has editing software, why should someone pay a lot for an editor, colorist, audio mixer, etc.?”
ADR engineer Juan-Lucas Benavidez
Most folks realize there is a value to knowledge accrued from experience. How do you get the viewers to recognize and appreciate the difference in craftsmanship between a polished show or movie and a typical YouTube video? What I realized is there are very few people on the planet who can’t afford a pencil and some paper, and yet how many great writers are there? How many folks make a decent living writing, and why are readers willing to pay for good writing?
The answer I came up with is that almost anyone can recognize the difference between a paper written by a 5th grader and one written by a college graduate. Why? Well, from the time we are very little, adults start reading to us. Then we spend every school day learning more about writing. When you realize the hard work that goes into developing as a good writer, you are more inclined to pay a master at that craft. So how do we get folks to realize the value we bring to our craft?
Our biggest problem comes from the “magician” aspect of what we do. For most of the history of Hollywood, the tricks of the trade were kept hidden to help sell the illusion. Why should we get paid when the average viewer has a 4K camera phone with editing software on it?
That is what has spurred my mission. Educating the average viewer to the value we bring to the table. Making them aware of bad sound, poor lighting, a lack of color correction, etc. If they are aware of poorer quality, maybe they will begin to reject it, and we can continue to be gainfully employed exercising our hard-earned skills.
Boom operator Sam Vargas.
How often is your studio brought in to fix a project done by someone with access to the tools, but not the experience?
This actually happens a lot, and it is usually harder to fix something that has been done incorrectly than it is to just do it right from the beginning. However, at least they tried, and that is the point of my quest: to get folks to recognize and want a better product. I would rather see that they tried to make it better and failed than just accepted poor quality as “good enough.”
Your most recent video tackles ADR. So let’s talk about that for a bit. How complicated a task is ADR, specifically matching of new audio to the existing video?
We do a fair amount of ADR recording, which isn’t that hard for the experienced audio mixer. That said, I found out how hard it is being the talent doing ADR. It sounds a lot easier than it actually is when you are trying to match your delivery from the original recording.
What do you use for ADR?
We use Avid Pro Tools as our primary audio tool, but there are some additional tools in Fairlight (included free in Blackmagic’s Resolve now) that make ADR even easier for the mixer and the talent. Our mic is Sennheiser long shotgun, but we try to match mics to the field mic when possible for ADR.
I suppose Resolve proves your point — professional tools accessible for free to the masses?
Yeah. I can afford to buy a paint brush and some paint. It would take me a lot of years of practice to be a Michelangelo. Maybe Malcolm Gladwell, who posits that it takes 10,000 hours of practice to master something, is not too far off target.
What about for those clients who don’t think you need ADR and instead can use a noise reduction tool to remove the offensive noise?
We showed some noise reduction tools in another video in the series, but they are better at removing consistent sounds like air conditioner hum. We chose the freeway location as the background noise would be much harder to remove. In this case, ADR was the best choice.
It’s also good for replacing fumbled dialogue or something that was rewritten after production was completed. Often you can get away with cheating a new line of dialogue over a cutaway of another actor. To make the new line match perfectly, you would rerecord all the dialogue.
What did you shoot the video with? What about editing and color?
We shot with a Blackmagic Cinema Camera in RAW so we could fix more in post. Editing was done in Avid Media Composer with final color in Blackmagic’s Resolve. All the audio was handled in Avid’s Pro Tools.
What other topics have you covered in this series?
So far we’ve covered some audio issues and the need for color correction. We are in the planning stages for more videos, but we’re always looking for suggestions. Hint, hint.
Ok, letting you go, but is there anything I haven’t asked that’s important?
I am hoping that others who are more talented than I am pick up the mantle and continue the quest to educate the viewers. The goal is to prevent us all becoming “starving artists” in a world of mediocre media content.
Long-time VFX executive Andrew Bell has joined LA-based Method Studios as senior EP/VP of its Advertising division. He will report to Method Advertising MD/EVP Stuart Robinson.
Bell moves to Method after spending nearly two decades with MPC, first as a producer in London and then as head of production and managing director, spearheading MPC’s initial foray, then expansion and relocation, into Los Angeles. There he oversaw all operations, from bidding to building to managing the talent and client rosters in addition to working with directors producing large-scale VFX projects for Coca-Cola, Nike, DirecTV and other brands. Bell also previously served as managing director for Brickyard VFX in Boston and has consulted on VFX operations for Apple.
In LA, Bell will work alongside Method Commercials VFX senior EP/VP Stephanie Gilgar and Digital Studio head Jeff Werner to drive operations, curate talent and bring clients on the West Coast. Method is a Deluxe company.