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.
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.
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.