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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

THE WORKFLOW OF ENDER'S GAME

Thanks for the detailed response, Michael. I'm with you. Agility and flexibility are key in the 21st century.

I would also be interested in your color management on set. Did LI provide calibrated displays for the DP / DIT to work with or was that hardware sourced from a rental house? Also, did LI provide any specific calibrated display for watching dailies on-site?
 
Started watching in a very busy afternoon and could not stop until the very end. It was an absolute pleasure to watch the video and thanks for sharing it with us. It is no wonder Light Iron is where it is, congrats on all your success.
 
Thank you for sharing Michael! Congratulations to you & everyone at LI.
 
Adrian Jebef said:
Thanks for the detailed response, Michael. I'm with you. Agility and flexibility are key in the 21st century.

I would also be interested in your color management on set. Did LI provide calibrated displays for the DP / DIT to work with or was that hardware sourced from a rental house? Also, did LI provide any specific calibrated display for watching dailies on-site?
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Light Iron provides calibrated monitors for the set on Lily Pads, but Video Village monitors are typically sourced by production. Don was a big fan of the latest Apple monitors and always kept his Cinema Display near as well as his iPad. Each DP has their own take on monitoring, and I typically support whatever makes them comfortable. Food for thought:

I submit that on-set monitoring is not about calibration. The reason I say this is because when you compare the calibration of a set to the calibration of a post environment, there is no comparison. That doesn't mean you don't calibrate, but it *does* mean that the calibration is more of an approximation rather than an absolute. What we have done is spent less time on calibrating and more time on something we think is far more important: CONSISTENCY.

We have found that when you add in the elements of the DIT system plus video village, iPads, editorial, studio dailies, and test screenings, the fan of calibration tends to grow wider, not narrower. This is why efforts made to create consistency across these monitors will go a lot further. Does that make sense?

m
 
It terms of consistency across monitoring, does that mean you match everything to the lowest quality (albeit, calibrated) display?

Also, when are you guys going to get a vfx arm (or spoke, as it were)? It seems to me that having to go to a third-party/non-vertically-integrated vfx company required a boatload more hassle/delay on your end (forced to render multiple deliverables to suit someone else's needs only to have to reconform when you brought it back to your place for final colour.)

…Conversely, I definitely dig the 'match practical footage, to vfx, to neutral/log for final grade' workflow though… Rather than being tacked on, they seem far more integrated, and I'm sure the colourist appreciates it in the (WYSIWYG sense).
 
Michael Cioni said:
Some companies consider LTO as "go-to-source" for data, especially on large films of over 50TBs of storage.
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Michael, are you sure that isn't a typo? On the pictures we deal with, 50TB is less than 3 weeks of production. For us, 50TB total would be a very small show. And I'm not talking stereoscopic here...
 
M Most said:
Michael, are you sure that isn't a typo? On the pictures we deal with, 50TB is less than 3 weeks of production. For us, 50TB total would be a very small show. And I'm not talking stereoscopic here...
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Times are changing. I'm less than 6 weeks into my current feature and we've already racked up about 100TB.
 
Michael, thanks for you this.

Sending SSD Mags and Audio cards in parallel is a great tip. Makes so much more sense to keep video & audio together for the offload. When did this practice start? Are sound guys used to doing this?
 
Don McAlpine. I have no words to express how much I respect a great man, so I better shut up.
 
Workflow question. From what I can tell, 128 SSD's seem to be a popular mag size on large projects (Brook, for example, sells a lot of them!!). And I was on a BIG shoot in LA last month, and that's all the camera dept ordered...tons of 128s.

Was this the case on Enders Game as well?

And if so, do you think this will continue with Dragon? Or will larger file sizes start to make 256 SSD's the new Dragon gold standard?

Thanks!!
 
Nick Morrison said:
Workflow question. From what I can tell, 128 SSD's seem to be a popular mag size on large projects (Brook, for example, sells a lot of them!!). And I was on a BIG shoot in LA last month, and that's all the camera dept ordered...tons of 128s.

Was this the case on Enders Game as well?

And if so, do you think this will continue with Dragon? Or will larger file sizes start to make 256 SSD's the new Dragon gold standard?

Thanks!!
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I'm not sure this is a definitive answer, but the 128GB are kind of a sweet spot for amount of data you want on a card at any time (to minimize risk) and allow a good rotation of offloading, keeping the data flowing all day long. I'm sure there are times when 256 and 512 are useful as well but I see 128GB a lot more often.
 
Steve Sherrick said:
I'm not sure this is a definitive answer, but the 128GB are kind of a sweet spot for amount of data you want on a card at any time (to minimize risk) and allow a good rotation of offloading, keeping the data flowing all day long. I'm sure there are times when 256 and 512 are useful as well but I see 128GB a lot more often.
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Do you think Dragon will change that? Or stay the same? It wouldn't surprise me if people continue shooting 5K quite a lot on Dragon, and in that case a 128 won't be that different than shooting 5K now on Epic.

But once you get to 6K...I can see 256's becoming more popular...wouldn't you think?
 
Nick Morrison said:
Do you think Dragon will change that? Or stay the same? It wouldn't surprise me if people continue shooting 5K quite a lot on Dragon, and in that case a 128 won't be that different than shooting 5K now on Epic.

But once you get to 6K...I can see 256's becoming more popular...wouldn't you think?
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I think it will be a relative thing. I find people are pretty comfortable with a mag that holds 20-30 minutes of material. Not that we always use that whole amount before swapping but it's a comfortable amount.

With Dragon, it sounds like the compression has become a lot more efficient, therefore it's hard to say exactly where people will land for compression ratios and therefore mag size. It's possible that things won't change much for general purpose shooting. At lower compression ratios we'll have to see.
 
Steve Sherrick said:
I think it will be a relative thing. I find people are pretty comfortable with a mag that holds 20-30 minutes of material. Not that we always use that whole amount before swapping but it's a comfortable amount.

With Dragon, it sounds like the compression has become a lot more efficient, therefore it's hard to say exactly where people will land for compression ratios and therefore mag size. It's possible that things won't change much for general purpose shooting. At lower compression ratios we'll have to see.
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Honestly, I was kind of assuming the same thing.

I cautiously predict I'll be shooting 5K 10:1 on Dragon for a majority of my smaller jobs, so I'm guessing my life will change that much (as you say).

As an owner of 6 x 128 mags, I'd like the status quo to remain reasonably viable!
 
Can you explain which programs DIT were running on lillypad.
Color on set you mean only at Redcinex or he does color on resolve or pablo too.
does he sync sound on redcinex and match?
his main job was Dit on set or data wrangler?
 
"The size, age, and design of giants can be overtaken by newer, smaller, and innovative ideas that are not playing by the same rules."

As Ender said "The enemy's gate is down"
 
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