The show was the hit Netflix Original


psychological thriller, The Stranger, produced by Red Productions and this was a Tier 1 delivery. The show master was for eight one-hour episodes. It was Red’s first foray into 4K HDR as well. Everyone involved in the production was mindful of the demands of the workflow and the shooting ratio was efficient. The show was also as data economical as was realistic. The show was shot on


HX310s for monitoring and two Leader Electronics Scopes for test and measurement. Our grading artist Jamie Parry had very specific requirements and wanted to ensure the project would run as seamlessly as possible. We had excellent support from


the Sony VENICE at 4K anamorphic on the X-OCN ST recording format and then brought in and transcoded to Dnx36 and 16bit linear OpenEXR, all working within an ACES AP0 colour pipeline. Due to the nature of the deliverables and some of the more complex VFX shots, we had to work with desqueezed EXRs, resulting in an 8k working format. The speed of the ELEMENTS ONE made this process relatively painless and enabled us to meet the delivery specs, whilst ensuring all colour decisions remained intact without any drop in image quality. The kit of parts included Mellanox to move the


The ELEMENTS ONE was an essential


component for this transition


ELEMENTS from the outset. Alistair Washbourn came up and provided overview training for our technical team and was always available afterwards, acting as a conduit to the right engineering support. We had almost immediate access to their senior technical people with the right knowledge when


we needed them. There was no feeling that we were in a support queue. They were very hands-on and proactive. It was painless. It wasn’t at all painful to get it up and running to


support the workflow. There are storage vendors where you say, ‘Media


high-bandwidth data around. We had the Flames and Resolve running off 40GB client connections to get the real-time playback performance we required. We also bought two of the first Sony BVM-


and Entertainment’, and they say ‘yes, we do video’ but they don’t really get it. It’s about understanding the requirements of a workflow. There’s a big difference to saying we support video files to working with ELEMENTS where you know they’ve had these conversations before. You don’t feel like you’re pushing the envelope with them and that is a true comfort.


The end project delivery ran like a charm. Netflix


received the project and we filled the 90TB Amazon Snowball delivery unit.. We’ve subsequently used the ELEMENTS ONE


for other drama projects for various broadcasters and streamers as well as for many short form commercials. We’re now gearing up for our next major Netflix series with Red Productions where again we’re doing full post and with Netflix trust and support, we’re now investing in QC to be able to send the finished deliverables straight to them.


ELEMENTS ONE


• Dedicated storage for Media and Entertainment


• Grade and edit the latest DPX and EXR • Human Centric Workflow included • Easy to deploy and future proofed through scalability


• Close customer collaboration www.elements.tv


VFX at dock10


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