AVID-EQUIPPED POST HOUSE: EXTREME EDITING
CASE STUDY
MAN VS WILD
“Symphony is the choice because it offers the ability to share projects across suites and can handle AVC-Intra and DNxHD mixed format timelines.
IAN BURLING Technical manager FILMS AT 59
Now in its seventh season, Discovery’s Bear Grylls-fronted extreme survival series Man vs Wild has seen plenty of changes since it was first broadcast in 2006. Made by Diverse Bristol and edited at post house Films at 59, the show was originally shot on tape but has since converted to file-based production on a combination of Panasonic Varicam camcorders, Sony HXRMC1 POV cameras and Go Pros. As Films at 59 technical manager Ian Burling explains one reason that the series is edited at native HD resolution and graded on Symphony Nitris DX is that the Avid edit platform is capable of handling the range of different formats used on the show. For instance P2, BearCam and Go Pro footage is delivered to Films at 59
with rushes backed up to LTO for archive. Full resolution native P2 files are ingested to Avid Unity Medianet version 5 while the BearCam files are transcoded to DNxHD 120 before transfer. The material is offlined at native AVCIntra100 and DNxHD120 mixed in the Avid timeline, then onlined and graded in Symphony. “Symphony is the choice on Man v Wild because it offers the ability to share projects to file level across several suites and it can handle AVCIntra and DNxHD mixed format time lines,” explains Burling, whose Bristol-based post house operates 30 Media Composer offline suites and ten online/grading suites linked Medianet shared storage systems and an ISIS 5000 totalling 248TB. Online editor Franz Ketterer uses Sapphire and Boris plug ins
SYMPHONY IS A ONE STOP SHOP ON THIS LONG-RUNNING SERIES
• Posted and graded on one machine at full res • Avid open access editing allow producers to mix HD formats
as grading tools working all the time within Symphony. “It’s a great workflow for a show like Man vs Wild, which we can post and grade through one machine – which is a real bonus. We might have to use other kit for a couple of specific shots but Sapphire’s suite of light tools and effects are more than capable of handling the bulk of the grade.” One reason that clients like the workflow, pulling full resolution media off the Unity and working on Symphony is that it saves time and money by missing out the conform. Ketterer points out that Avid’s move towards open access editing makes a big difference to producers. “A more flexible editing platform gives the client the freedom to mix formats allowing them to choose the most appropriate cameras.”
STORIES create
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