By Anthony Bari Jr.
For the past couple years, I’ve been producing a documentary called We Call Her Yolanda. After volunteering on disaster relief in the Philippines in the aftermath of 2013’s super typhoon, I was taken with the people’s positivity and resiliency even though they had lost everything, including loved ones and livelihoods. I was inspired to go back and start filming a documentary, the shooting for which just wrapped.
While the rest of the world knew the devastating storm as Typhoon Haiyan, Filipinos had their own name for it — Super Typhoon Yolanda. As such, We Call Her Yolanda was an apt title for the film.
For We Call Her Yolanda, we completed four shoots over two years on a mix of cameras and formats. We used two GoPro Hero4 Black cameras (one was mounted on a drone and the other was first-person view), two Canon C300s, a Sony FS7 and a Canon 5D Mark II. We always travelled with at least two laptops for transcoding and media management. We also carried G-Technology hard drives in our backpacks. I relied heavily on software presets for this project, setting up a bunch of them before we left for the Philippines so we could bag and tag all files during the trip.
Just one of Bari’s shooting setups.
For those who are still dragging and dropping hundreds of gigabytes of media from card to drive, beware. That method is wide open to error. ShotPut Pro, Imagine Products’ offloading app, is my go-to tool for safely offloading media. Computers and technology aren’t perfect, so offloading camera cards and making multiple backups is incredibly important. Version 6 has a new interface that looks just like the Finder window on my Mac.
The software’s checksumming capability verifies the integrity of every data transfer and raises a flag if things don’t add up. This feature is not only important for ensuring complete backups, but it also helps pinpoint problems with hardware or systems — and gives me the visual tools to explain the problems to clients.
Rather than just sticking a camera in people’s faces and asking them for their stories during the Yolanda shoots, we spent a lot of time getting to know people and making them comfortable with our team and the technology. Meanwhile, we shot lots of B-roll. Between the relationship building, the filming, the travel and other rigors of the shoot, it was a busy project that kept our whole team going nonstop — which meant I couldn’t always take care of media management myself like I would prefer.
Another critical tool in my data-wrangling workflow also happens to be from Imagine Products — ProxyMill transcoding software, which they recently revamped into PrimeTranscoder. I use this software’s presets a lot. By digging into the tools on the preset menu, flipping switches, or checking/unchecking boxes in the interface, I can program all sorts of functionality and even map certain functions to specific scenarios. For example, I can merge multiple interviews into a single low-res file and program the tool to apply timecode and/or a LUT file to it before sending to a producer or client for review. The fact that I can kick out a low-resolution, color corrected clip that has everything on it and send it off immediately is a big deal. I just dial it in, save it, and it’s ready to go.
Street view of San Joaquin.
The best part about this is that I don’t have to man the station the whole time. I’m ultimately responsible for the data, and I get very nervous when I don’t have control over it, but this workflow lets me delegate the media management duties when needed and trust that it will be done right, even by people with no post experience.
I like to work with native formats whenever possible, but sometimes you have to rely on proxies, especially when some of the footage is shot in data-heavy 4K. With this project, I used Imagine Products’ HD-VU2. This quality-check tool allowed me to preview footage in its native format after a shoot and decide which footage to pull. Then we’d apply ProxyMill to color correct it or add timecode as needed, and then transcode it into one massive ProRes clip using the clip-stitch feature. This capability came in handy when merging all interviews into one file for the translator and when selecting and stabilizing “best-of” drone footage to get it ready for editing later in Adobe Premiere.
Upon returning from the Philippines after each shoot, I made a strict practice of cloning the data from the portable drives onto multiple 4TB G-Technology desktop drives that are more suitable for editing. (We aim never to edit from the portable drives!) During the shoot, there were a handful of moments when we were literally sitting under a coconut tree with a long cable connected to a generator. That made for very unconventional (and nerve-wracking) media management, so I always go for gear with a dedicated power source whenever possible.
Back in Los Angeles working on post for Yolanda, I turned my home into a post production studio. I worked with a carefully chosen team of eight pro editors who operated in rotation at my house, often late into the night. I supplied the food and drinks (you’ve got to keep up morale!), and they showed up and got to work. Some editors brought their own laptops, while others used my two spare MacBook Pros. All computers were equipped with Adobe Premiere CC.
The G-Technology desktop drives each contained the same set of footage, so whenever someone picked up a project, they simply ripped away at the footage from one of those drives. There were also two smaller G-Technology drives floating around with a total of about 600GB of extra footage (such as 4K drone footage) that people could select as needed. I used Basecamp to track the project and assign the work, and CalDigit Thunderbolt stations helped with connectivity.
Anthony Bari is a director/engineer/editor/post consultant. In addition to his freelance and consulting roles, he has worked on major sporting events, TV shows, reality shows and documentaries. He earned an Emmy Award as part of the 2015 FIFA Women’s World Cup on FS1 technical team.