DRAMA
CASE STUDY HIDDEN
Ronan Bennett’s taut and gripping four-part conspiracy thriller Hidden takes actor Philip Glenister, best known for his no-nonsense detective character Gene Hunt, back to familiar criminal territory. The BBC1 series from Origin
“Creatively the edit worked well because Avid DS enabled us to handle a lot of the basic 2d vfx work ourselves”
Connan McStay
Senior editor and compositor LipSync
Pictures, the tale of a solicitor whose murky past comes back to haunt him, was filmed on location in Belfast. Shot on Arri Alexa, Hidden was offlined at post house LipSync on Avid Media Composer and supplied to senior editor and compositor Connan McStay as ProRes via Avid File Exchange. McStay says that the backbone of what proved to be a pretty smooth edit was Avid DS with 20TB of RAID storage. “This meant I could have all 40 days of rushes locally on my system at high resolution for instant
access. Creatively the edit worked well because Avid DS enabled us to handle a lot of the basic 2d vfx work such as paintwork and getting rid of logos ourselves, plus we could part build some of the more complicated effects shots to give vfx house Peerless a better idea of what the director wanted: how much blur to include in backgrounds or how much light there should be in the shot.” The workflow with Avid DS was
pretty simple, recalls McStay, despite there being around 20 time consuming green screen shots per episode. “We did the temp work, which was sent to vfx artists at Peerless. Their version was sent back and I could drop it straight into my timeline to show the director before the grade. If he wanted to tweak anything they could do it again and
AVID DS PROVIDES SIMPLE WORKFLOW FOR ONLINE, CONFORM AND EFFECTS
• Shot on Arri Alexa, Hidden was offlined on Media Composer • Avid DS combined with 20TB of RAID storage provided instant access to high-res images
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send it over – it could all happen very fast.” The grade was carried out at LipSync on Quantel iQ before being returned to McStay for final vfx and title sequences all on Avid DS. “The subtitles were also straightforward because DS automatically provides a proper subtitles document complete with timelines.” “Plus with DS I could have the
conform, grade and effects timelines all on my timeline simultaneously so we could play everything as and when required.” What made life really easy was the way Avid DS interacted with the Media Composer offline. “Any updates that came from offline were supplied in Avid File Exchange format which I could load straight into my timeline – and everything would be updated automatically.”
STORIES create
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