Tag Archives: IFC

Dailies and post for IFC’s Brockmire

By Randi Altman

When the name Brockmire first entered my vocabulary, it was thanks to a very naughty and extremely funny short video that I saw on YouTube, starring Hank Azaria. It made me laugh-cry.

Fast forward about seven years and the tale of the plaid-jacket-wearing, old-school baseball play-by-play man — who discovers his beloved wife’s infidelity and melts down in an incredibly dirty and curse-fueled way on air — is picked up by IFC, in the series aptly named Brockmire. It stars Azaria, Amanda Peet and features cameos from sportscasters like Joe Buck and Tim Kurkjian.

The Sim Group was called on to provide multiple services for Brockmire: Sim provided camera rentals, Bling Digital provided dailies and workflow services, and Chainsaw provided offline editorial facilities, post finishing services, and deliverables.

We reached out to Chainsaw’s VP of business development, Michael Levy, and Bling Digital’s workflow producer, James Koon, with some questions about workflow. First up is Levy.

Michael Levy

How early did you get involved on Brockmire?
Our role with Brockmire started from the very beginning stages of the project. This was through a working relationship I had with Elizabeth Baquet, who is a production executive at Funny or Die (which produces the show).

What challenges did you have to overcome?
One of the biggest challenges was related to scaling a short to a multi-episode series and having multiple episodes in both production and in post at the same time. However, all the companies that make up Sim Group have worked on many episodic series over the years, so we were in a really good position to offer advice in terms of how to plan a workflow strategy, how to document things properly and how to coordinate getting their camera and dailies offline media from Atlanta to Post Editorial in Los Angeles.

What tools did they need for post and how involved was Chainsaw?
Chainsaw worked very hard with our Sim Group colleagues in Atlanta to provide a level of coordination that I believe made life much simpler for the Brockmire production/editorial team.

Offline editing for the series was done on our Avid Media composer systems in cutting rooms here in the Chainsaw/SIM Group studio in Los Angeles at the Las Palmas Building.

The Avid dailies media created by Bling-Atlanta, our partner company in the SimGroup, was piped over the Internet each day to Chainsaw. When the Brockmire editorial crew walked into their cutting rooms, their offline dailies media was ready to edit with on their Avid Isis server workspace. Whenever needed, they were also able to access their Arri Alexa full-rez dailies media that had been shipped on Bling drives from Atlanta.

Bling-Atlanta’s workflow supervisor for Brockmire, James Koon, remained fully involved, and was able to supervise the pulling of any clips needed for VFX, or respond to any other dailies related needs.

Deb Wolfe, Funny or Die’s post producer for Brockmire, also had an office here at Chainsaw. She consulted regularly with Annalise Kurinsky (Chainsaw’s in-house producer for Brockmire) and I as they moved along locking cuts and getting ready for post finishing.

In preparation for the finishing work, we were able to set-up color tests with Chainsaw senior colorist Andy Lichtstein, who handled final color for the series in one of our FilmLight Baselight color suites. I should note that all of our Chainsaw finishing rooms were right downstairs on the second floor of the same Sim Group Las Palmas Building.

How closely did you work with Deb Wolfe?
Very closely, especially in dealing with an unexpected production problem. Co-star Amanda Peet was accidentally hit in the head by a thrown beer can (how Brockmire! as they would say in the series). We quickly called in Boyd Stepan, Chainsaw’s Senior VFX artist, and came up with a game plan to do Flame paint fixes on all of the affected Amanda Peet shots. We also provided additional VFX compositing for other planned VFX shots in several of their episodes.

What about the HD online finish?
That was done on Avid Symphony and Baselight by staff online editor Jon Pehlke, making full use of Chainsaw’s Avid/Baselight clip-based AAF workflow.

The last stop in the post process was the Chainsaw Deliverables Department, which took care of QC and requested videotape dubs and creation and digital upload of specified delivery files.

James Koon

Now for James Koon…

James, what challenges did you have to overcome if any?
I would say that the biggest challenge overall with Brockmire was the timeframe. Twenty-four days to shoot eight episodes is ambitious. While in general this doesn’t pose a specific problem in dailies, the tight shooting schedule meant that certain elements of the workflow were going to need more attention. The color workflow, in particular, was one that created a fair amount of discussion — with the tight schedules on set, the DP (Jeffrey Waldron) wanted to get his look, but wasn’t going to have much time, if any, on-set coloring. So we worked with the DP to set up looks before they started shooting that could be stored in the camera and monitored on set and would be applied and tweaked as needed back at the dailies lab with notes from the DP.

Episode information from set to editorial was also an important consideration as they were shooting material from all eight episodes at once. Making sure to cross reference and double check which episode a shot was for was important to make sure that editorial could quickly find what they needed.

Can you walk us through the workflow, and how you worked with the producers?
They shot with the Arri’s Amira and Alexa Mini, monitoring with the LUTs created before production. This material was offloaded to an on-set back-up and a shuttle drive  — we generally use G-Tech G-RAID 4TB Thunderbolt or USB3 and  for local storage a Promise Pegasus drive and a back up on our Facilis Terrablock SAN — that was sent to the lab along with camera notes and any notes from the DP and/or the DIT regarding the look for the material. Once received at the lab we would offload the footage to our local storage and process the footage in the dailies software, syncing the material to the audio mixers recording and logging the episode, scene and take information for every take, using camera notes, script notes and audio logs to make sure that the information was correct and consistent.

We also applied the correct LUT based on camera reports and tweaked color as needed to match cameras and make any adjustments needed from the DPs notes. Once all of that was completed, we would render Avid materials for editorial, create Internet streaming files for IFC’s Box service, as well as creating DVDs.

We would bring in the Avid files and organize them into bins per the editorial specs, and upload the files and bins to the editorial location in LA. These files were delivered directly to a dailies partition on their Isis, so once editorial arrived in the morning, everything was waiting for them.

Once dailies were completed, LTO backups of the media and dailies were written as well as additional temporary backups of the source material as a safety. These final backups were completed and verified by the following morning, and editorial and production were both notified, allowing production to clear cards from the previous day if needed.

What tools did you use for dailies?
We used DaVinci Resolve to set original looks with the DP before the show began shooting, Colorfront Express Dailies for dailies processing, Media Composer for Avid editorial prep and bin organization and Imagine’s PreRoll Post for LTO writing and verification.

Creating the score for IFC’s ‘Gigi Does It’

Composer Jason Moss channels his inner grandmother for new series.

By Jennifer Walden

Picture a sweet, blue-haired grandma, who bakes pies, knits and reminisces about the good old days. Then meet Gigi Rotblum, the lead character in the IFC series Gigi Does It. She is a foul-mouthed bubbe who likes to kibitz about… well, just about anything. But even though she’s got the mouth of a sailor, is neurotic and often inappropriate, there’s still something charming about this Jewish grandmother, played by actor David Krumholtz. The show follows the 77-year-old Boca Raton widow as she finds odd ways to spend the remaining days of her twilight years.

It wasn’t too difficult for New Jersey-born composer Jason Moss, owner of LA’s Super Sonic Noise, to relate to this character. In fact he says he felt a connection to Gigi immediately. “My wife’s grandmother is 94 years old, and my grandmother is 94, so that uber Jewish grandmother neuroses is very strong in my life. Even though Gigi is a little more vulgar, with all her vagina and penis talk, the character is there.”

Composer Jason Moss

He also shares a connection to the character via actor Krumholtz, who lives in the part of New Jersey where Moss grew up. “It felt like everything aligned — it was kind of hysterical, and it was a nice, comforting connection. They were pretty much speaking my language.”

Finding the Score
Moss was introduced to the brothers Ben and Dan Newmark, founders of production company Grandma’s House Entertainment, through director of development/producer Michael Lopez. During their meeting to discuss the series’ score, Moss presented several options from his production music catalog, ranging from ultra contemporary hip-hop to kitschy Herb Alpert-inspired tunes. He also included his favorite track from Super Sonic Noise’s catalog, a quirky organ-based track laced with whimsical la-la-las sung by Moss himself. “When I got to that track they were like, ‘Holy shit that’s the theme song,’” says Moss. “It was one of my favorite tracks and I feel like it could not have a more perfect home then Gigi Does It.”

Moss, a long-time user of Apple’s Logic Pro, was able to open the original session for that track, which was created in an earlier version of Logic Pro. He did a re-edit and remix to tailor it specifically to Gigi Does It. “Everything was there and that was great because I was able to spruce it up a little bit,” says Moss. “They started cutting with the track and, in the end, they got it approved to be the theme.”

While Moss always uses real instruments to perform his guitar and bass parts, the score for Gigi Does It runs more in the elevator-vein, featuring organs, horns, and small percussion. His go-to for virtual instruments on the series are Arturia’s Vox Continental V for quirky sounding organs; Spectrasonics’s Trilian for upright bass; Addictive Drums by XLN Audio; and a small library called The Trumpet 3 by SampleModeling. “The Trumpet 3 is an amazing trumpet sample library that has a very authentic trumpet sound, with all the nuances of trumpet playing, like the way the tongue is used, and the different sorts of riffs,” says Moss. “With Addictive Drums, you can tweak the microphone distance to give it a bit more of a warm feel. The sounds for this show I want to be really warm, round and organic.”

SuperSoniceNoise_04SuperSoniceNoise_02

No matter what type of music Moss is composing, he feels there are three very important considerations to working creatively. “I always say it’s your ass, your ears and your eyes. You have to have something comfortable to sit on, something great to listen to and something good to look at. So I have a killer seat, and killer monitors to listen through, and a killer monitor to look at.”

The show’s score is a combination of Moss’s custom composed music —tracks pulled from the Super Sonic Noise catalog — and quirky, campy, lounge-style music tracks from composers that have written for Moss in the past. “There are a lot of funny organs, quirky drums and some Latin samba stuff that really works for Gigi,” says Moss. All the tracks and stems are delivered in stereo as 24/48-bit files uploaded to the Super Sonic Noise catalog site. “I use a platform called Source Audio and it is basically my search/play/delivery system. They are absolutely the most amazing and current company when it comes to music catalogs.”

SuperSoniceNoise_01

Delivering files via the Source Audio platform allows Moss to add artwork, metadata and publisher information. “When the post production facility downloads the files, they are all watermarked and contain all the metadata embedded in the file. It’s very organized.”

So, is Gigi Does It a series for everyone? Maybe not, but, says Moss, “She’s a funny grandma, and maybe you can relate to it because you have a grandma, or an uncle, or an aunt that is just incredibly inappropriate. Still, there’s something very sweet about Gigi. David [Krumholtz] does a brilliant job being Gigi, and you forget that there is a man in that outfit playing this old Jewish grandmother. He does such a wonderful job.”