Thank You for all of those who attended Roush Media’s BBQ and 4K workflow demo! The event was a success, it was a beautiful summer day and we could not have done it without your support.
In case you missed it, here is the recap. Everyone enjoyed a nice sit-down BBQ on fine china and a full bar with chocolate brownies that were out of this world. Meanwhile our staff offered tours of our facility and demos of our new On-Set Dailies System and DI Technology. The big demo of the event was the live shoot showing 4K RAW images captured from the Sony F55 Camera and taking those files into a full post workflow. Jody Eldred, an Emmy award winner & DGA nominee, was the DP for the event shooting a mock BMW car commercial. He composed a scene, shot amazing footage, and gave a very informative presentation about the Sony F55 camera. After Jody finished with his shoot the footage was transferred onto Roush Media’s On-Set Dailies System for a same day review of color graded iPad dailies. Let me just note that this was all happening live! Once the dailies were loaded we invited our guests into our 4K Digital Intermediate theater to color grade the footage they saw being captured moments before in real-time at 4K. A stellar presentation about the color and data workflows they witnessed was presented by Roush Media’s Senior Colorist and Founder Keith Roush. For more information about our On-Set Dailies System download Roush Media’s On-Set Dailies Information Document here. And also feel free to download Roush Media’s DI Color Information Document here.
We enjoyed our time at the event and it was great to catch up with a lot of you! Follow us on facebook / twitter for news about upcoming events, new workflows and much more.
Stay tuned because you never know what Roush Media will be doing next!
Sony, Alt Systems & Roush Media show a 4k on set to delivery workflow at this event
Roush Media’s Summer BBQ and Live Sony F55 4K Demonstration: Color From Acquisition to Delivery
You are invited you to our summer BBQ and Live 4K Demonstration: Color From Acquisition to Delivery on August 10, 2013. We invite you to come on over to our facility, meet our team, eat some food, drink some cold beverages and enjoy an extraordinary demo. Roush Media will be demonstrating their impressive Efficient Data and Color Management Workflows from Acquisition to Delivery for producing award winning films today.
Where: Roush Media 84 E. Santa Anita Ave, Burbank, CA 91502
Come see a live test shoot using Sony’s 4K F55 camera. Watch how footage is processed with Roush Media’s impressive On-Set Data /Color management System for sound-synced color-graded dailies, see them processed through a 4K workflow and view the results on a 4K projector.
Roush Media promises a great, relaxing time, where everyone will meet new friends and learn tips and tricks to finishing a quality film on time and on budget. So come on over to Roush Media’s Summer Bar-B-Q where you are sure to have a delightful time, enjoy good summer food while seeing firsthand how Roush Media can take your film from acquisitions to delivery with ease.
ENTIRE AGREEMENT. This Agreement, and any other matters expressly incorporated by reference herein, contains the entire agreement between the parties hereto relative to this subject matter. It supersedes all prior or contemporaneous understandings, whether oral or in writing. THESE TERMS AND CONDITIONS CAN ONLY BE MODIFIED BY AN INSTRUMENT IN WRITING SIGNED BY AN AUTHORIZED REPRESENTATIVE OF EACH PARTY..
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CLAIMS FOR ADJUSTMENTS: Any claims for adjustments in connection with any invoice must be presented to ROUSH MEDIA in writing within ten (10) business days from the date of the invoice. It is at the sole discretion of ROUSH MEDIA to grant any adjustment to the invoice based the merit of the claim. Client hereby waives any claim for adjustment that is not timely presented according to the provisions of this paragraph. All products or materials judged to be defective by the customer must be returned to ROUSH MEDIA at the customer’s sole expense within (30) days from the date shipped for evaluation by ROUSH MEDIA personnel. If the product or material needs to be replaced as a result of work performed by ROUSH MEDIA the replacement will be made free of charge. ROUSH MEDIA shall not be held liable for any costs incurred by the client as a result of a defective file or media product.
DELIVERY. Delivery dates, if furnished by ROUSH MEDIA, are approximate. Client’s orders will be filled as rapidly as practicable, taking into consideration the delivery to ROUSH MEDIA of materials by Client, the type of services or materials ordered by Client, ROUSH MEDIA’ obligation to other clients, and ROUSH MEDIA’ facility capacity. ROUSH MEDIA SHALL NOT BE LIABLE TO CLIENT OR TO ANY OTHER PERSON FOR ANY LOSSES OR DAMAGES ARISING OUT OF THE DELAY IN DELIVERING OF SERVICES OR MATERIALS, NOR SHALL ROUSH MEDIA BE LIABLE FOR FAILURE TO GIVE NOTICE OF ANY SUCH DELAY. Any delay in delivery not extending beyond fifteen (15) business days shall not constitute grounds for termination or cancellation of Client’s order, whether such delay arises from causes within or beyond ROUSH MEDIA’ control.
BILLABLE TIME: All facilities, manpower charges and services are billed by ROUSH MEDIA in 1/4-hour increments with a minimum of one hour for all hourly services. Standby time is billed at the 1/2 rate, in 1/4-hour increments. ROUSH MEDIA shall not incur any overtime charges without the prior written approval of Client in each instance.
CREDIT CARD AUTHORIZATION: Clients may submit written authorization for payment by credit card at ROUSH MEDIA. Submission of such authorization signifies acknowledgement of satisfactory completion of work performed by ROUSH MEDIA and entitles ROUSH MEDIA to charge the Client’s credit card for any outstanding balances at ROUSH MEDIA for the Client, its representatives, subsidiaries, divisions, affiliates, DBA’s and/or any company with which the Client submitting authorization is associated whether affiliated with the company under which the authorization was submitted or not.
TENTATIVE SCHEDULING: If Client has requested the use of ROUSH MEDIA’ facilities, equipment, materials and services on a “hold” basis, such request shall be deemed to be “confirmed” upon the earliest to occur of the following events:
48 hours before scheduled commencement of ROUSH MEDIA services unless canceled by Client.
Client provides ROUSH MEDIA with confirmation any time prior to 48 hours before scheduled commencement.
ROUSH MEDIA notifies Client that another client is prepared to confirm time tentatively scheduled by Client and Client confirms scheduled work. If tentatively scheduled Client elects not to confirm upon such notification, then the tentatively scheduled time shall be deemed canceled. If Client provides no prior notice of cancellation of confirmed schedule, then cancellation charges set forth in Paragraph 10 shall be assessed against Client.
CANCELLATION: Facilities and services scheduled at Client’s request but not used will be billed in the following manner; 50% of the full rate charges for facilities and services booked unless notice of cancellation is received prior to forty-eight (48) hours before the scheduled start time of the session, 100% of the full rate charges for facilities and services booked if notice is not received prior to twenty-four (24) hours before the scheduled start time of the session.
CLIENT LIABILITY FOR INFRINGEMENTS: Client shall indemnify and hold harmless ROUSH MEDIA from all third-party suits, claims, demands and other liabilities for trademark or copyright infringement arising out of Client’s production, distribution or exhibition of any materials furnished by Client with which ROUSH MEDIA furnished services. ROUSH MEDIA shall give Client prompt written notice of all suits and claims for infringement. Client hereby agrees to defend ROUSH MEDIA from such claims and to pay all costs in connection with any such infringement action.
RETURN OF CLIENT’S MATERIAL: Upon receipt of a written request by Client and after all outstanding amounts due ROUSH MEDIA have been paid, ROUSH MEDIA is hereby authorized to send all materials to Client at Client’s expense. After Client’s materials have been retained for ninety (90) days from Client’s last work date, ROUSH MEDIA may at it’s sole option, return Client’s tapes at the Client’s expense, charge a customary storage fee for each day thereafter that the materials remained unredeemed, and/or advise the Client that his materials will be disposed of if not redeemed within sixty (60) days of written notice.
LIMIT OF LIABILITY: ROUSH MEDIA shall not be liable for any lost profits or special, incidental, indirect consequential, or any other type of damages whatsoever resulting from defective equipment, or Product provided by ROUSH MEDIA whether or not such damage or destruction is caused by the negligence of ROUSH MEDIA, its employees, agents or subcontractors, including, but not limited to, improper storage, processing or loss of materials. The extent of ROUSH MEDIA’ liability will be limited to the replacement of similar quality raw material that had been lost or damaged by ROUSH MEDIA, its employees, agents or subcontractors. ROUSH MEDIA gives no warranty, express or implied as to merchantability, fitness for a particular purpose, or quality of services and equipment provided by ROUSH MEDIA. It is understood and agreed that ROUSH MEDIA is not an insurer and that payments made for the services and equipment provided by ROUSH MEDIA are based solely on the value of such services. In no event and under no circumstances shall ROUSH MEDIA be liable for any damages because of delays due to the elements, equipment failure, acts of God, acts of Client or the alleged negligence (but excluding the gross negligence and/or willful misconduct) of ROUSH MEDIA, its employees, agents or subcontractors. ROUSH MEDIA hereby disclaims any and all liability for, but not limited to any loss or damage that could occur to any Client’s owned materials, such as Masters or SubMasters, film, video, audio, electronic, or original elements in our possession for any and all reasons, at any time, including, but not limited to acts of God, negligence (but excluding the gross negligence and/or willful misconduct of ROUSH MEDIA), delays, equipment failure or otherwise. It is the Client’s responsibility to have insurance or suitable back-up materials for any property or irreplaceable materials they own placed under the care of ROUSH MEDIA. If any action is filed for a third party for a delay in producing said materials caused by the foregoing, Client hereby agrees to indemnify, defend and hold harmless ROUSH MEDIA from any and all such suits, claims, demands or other liabilities. Client is required by ROUSH MEDIA to remain in ROUSH MEDIA lobby and/or designated client areas only. If Client enters any other area of the facility, it is with the understanding that they do so at their own risk and agrees to hold ROUSH MEDIA harmless for any incidental or other physical injury that may occur. Clients are required by ROUSH MEDIA to fully attend to their children and pets. ROUSH MEDIA accepts no responsibility for any incidental or other injury that may occur to any child or pet entering the facility. ROUSH MEDIA hereby disclaims any and all liability for any loss or damage that could occur to Client, Client’s child, Client’s pet, or any Client’s owned materials in our facility for any and all reasons, at any time, including, but not limited to acts of God, negligence (but excluding the gross negligence and/or willful misconduct of ROUSH MEDIA). Client hereby agrees to indemnify, defend and hold harmless ROUSH MEDIA from any and all third-party suits, claims, demands or other liabilities alleged and arising from Client’s conduct while Client is physically present at ROUSH MEDIA, but excluding those arising from the gross negligence and/or willful misconduct of ROUSH MEDIA.
WARRANTIES BY OWNER: Client warrants that it is the sole owner and/or has the right to possession and use of all elements delivered to ROUSH MEDIA by Client or its agent. Client shall indemnify and hold harmless ROUSH MEDIA from all third-party suits, claims, demands and liabilities arising out of or in connection with Client’s publication, processing, use, distribution, or exhibition of elements as delivered to ROUSH MEDIA, including without limitation, liability, costs and expenses for third-party claims based upon Client’s libel, slander, defamation, invasion of privacy or infringement of patent, copyright, trademark or other proprietary rights of such third party, but except to the extent arising from the results and proceeds of ROUSH MEDIA’s services hereunder.
THIRD PARTIES: Client acknowledges its sole financial responsibility for timely payment in full for services rendered by ROUSH MEDIA to it regardless of Client’s arrangements, contracts or understandings with third parties. ROUSH MEDIA will not look to third parties for payment, since Client bears such responsibility and hereby acknowledges the same.
RIGHT TO REFUSE SERVICE: ROUSH MEDIA, in its sole discretion, may, prior to the commencement of services hereunder, refuse to perform post-production services. If at any such time, ROUSH MEDIA in its sole judgment elects not to provide services, ROUSH MEDIA will notify Client and will return all Client materials in its possession to Client. Other than its obligation to return said materials, ROUSH MEDIA shall incur no further obligation or liability of any kind whatsoever to Client.
PUBLICITY AND ADVERTISING CREDIT: Only upon ROUSH MEDIA’s completion and delivery of all services ordered by Client hereunder, ROUSH MEDIA shall have the right to use Client’s name and to publicize and advertise Client’s order or purchase of services and materials from ROUSH MEDIA.
PARTIAL VALIDITY: The provisions of this stipulation are severable and should any provisions for any reason be unenforceable, the balance shall nonetheless remain in full force and effect.
CHOICE OF LAW: This agreement shall in all respects be interpreted, enforced, governed and construed in accordance with the laws of the State of California. This stipulation is deemed to have been jointly prepared by the parties hereto, and any uncertainty or ambiguity existing herein shall not be interpreted against any of the parties, but according to the application of the rules of interpretation of contracts. Any action based upon this work shall be brought exclusively pursuant to the Arbitration provision set forth in Paragraph 33 below.
Visual effects, editing including green screen, compositing, wire removal, rotoscope, tracking, etc is not included in conform/color correction line items or estimates. These services will be billed separately as requested.
Pre Approved Overtime Charges (If requested by client): After 8 hours (Labor Book rate + 1/2) After 12 hours & Sundays (Book rate x 2)
Charges for messenger services, shipping and other requested third party services will be passed through to invoice with a 20% handling fee.
Services will be provided on a COD basis unless credit is approved in advance. A 50% deposit may be required on or before the estimated start date of work. See Services Agreement for payment terms.
Roush Media cannot be held responsible for delay of client supplied elements necessary for finishing. If there is a delay of the delivery of these elements, the storage of the client material on the Roush Media SAN will be billed at $20 per TB per month. If there is a delay in delivery of client supplied elements necessary for finishing that requires additional storage time of the client’s project on the Roush Media SAN, it is billed $20 per TB per month.
At the completion of work, Client-supplied elements will be held by Roush Media until final payment is received. Beginning 30 days after notice of the completion of work, a storage fee of $150 per month per project will be charged until client-supplied elements are removed from Roush Media’s facility. In addition, the client will be subject to an interest charge of 1.5% per month on the unpaid balance, provided however, that the client shall not be required to pay an interest charge in excess of the maximum interest permitted by applicable law.
The rates provided in the attached estimate are based upon the ability to utilize Client-approved (via prior written notice from Client not to be unreasonably withheld or delayed) clips for “in-house” industry technology demonstrations of the tools and methods utilized in making this picture.
Screen Credit: The rates provided in the attached estimate are based upon a screen credit for services provided and completed in full. In addition, individual credits for personnel involved in dailies, digital preview, and final film mastering services completed in full shall also be provided. Company credits to read: Digital Intermediate Services – Roush Media (LOGO) to be included at end of scroll. If Keith Roush is the colorist he should receive an on-screen credit as Supervising Colorist Keith Roush, C.S.I.
Quotes are for estimating purposes only and are not intended as a flat rate bid unless stated as such. All projects are billed on an “as used” basis unless the client requests an estimate based upon flat rate charges and that is specified as such. Invoices will reflect the amount of time and types of services used and will be billed weekly or on completion of any part on a line item basis. All Roush Media. services are subject to the Standard Terms and Conditions provided here with in.
Ownership: All of the services of ROUSH MEDIA (hereinafter “Vendor”) shall be rendered as a “work-made-for- hire” for Client. At every stage of the production of the Client’s motion picture project (the “Project”) and at all times thereafter, Client shall own, exclusively and in perpetuity, throughout the universe, all rights in and to the Project, and the results and proceeds (collectively, the “Results and Proceeds”) of ROUSH MEDIA’s services hereunder, including, without limitation, all copyrights (and renewals and extensions thereof), all motion picture rights, all television rights (including, without limitation, live, pay, cable, satellite, and series television rights) and all allied, ancillary, subsidiary and incidental rights, including, without limitation, prequel, sequel and remake rights, music publishing rights, literary publication rights, videocassette and video disc or laser disc rights, soundtrack album rights, merchandising rights, theme park rights, stage play rights, interactive cable rights, internet site rights, so-called “wireless’’ rights, multi-media cable rights, and computer-assisted media rights (including, without limitation, CD-ROM, CD-I, and other similar disc systems, internet, interactive media and multimedia) or any other devices or methods now existing or hereafter devised, and marketing, publicity, promotional and advertising rights (including, without limitation, novelizations. printed synopses and excerpt rights and the right to broadcast, over radio, television, internet and all other media, advertisements with respect to productions produced hereunder). The rights herein granted include the right to distribute, transmit, exhibit, broadcast (by terrestrial cable, satellite or any other means) and otherwise exploit the Project and the Results and Proceeds by means of any and all media and devices, whether now known or hereafter devised, in perpetuity, throughout the universe, in any and all languages and in any and all markets whatsoever, all without any additional compensation to ROUSH MEDIA of any form or nature whatsoever. Client shall own any so called “rental and lending rights” or similar rights and ROUSH MEDIA acknowledges the remuneration set forth hereunder is equitable compensation for the assignment of such rights. Client may, in its sole discretion, make any and all changes in, additions to, and deletions from the Project and the Results and Proceeds and ROUSH MEDIA waives any and all so-called moral rights, or any similar rights, of authors. If for any reason the Results and Proceeds (or any portion thereof) are deemed not to be a work-made-for-hire for Client, then ROUSH MEDIA hereby assigns, grants and sets over unto Client all of ROUSH MEDIA’s rights of every kind and nature, including all rights of copyright, in and to the Results and Proceeds. Nothing contained in this Agreement shall be construed as requiring Client to exercise or exploit any of the rights granted to or acquired by Client under this Agreement.
No Injunctive Relief: In the event of any claim by Vendor against Client or any other dispute relating to the Project, whether or not material, Vendor shall be strictly limited to seeking only such monetary damages as Vendor actually incurs in connection therewith, if any, pursuant to the arbitration provision below, and Vendor shall not be entitled to, and hereby waives, any right to seek or obtain any form of equitable relief whatsoever, including but not limited to, the right to enjoin, restrain or otherwise interfere in any manner with the production, marketing, exhibition, distribution or other exploitation of the Project or any of Client’s rights therein.
Arbitration: In the event of any dispute or controversy between the parties hereto, such dispute or controversy shall be resolved solely by confidential, binding arbitration under the auspices of the JAMS Streamlined (for claims under $250,000) or the JAMS Comprehensive (for claims over $250,000) Arbitration Rules and Procedures, except as modified herein, including the Optional Appeal Procedure thereof, at the Los Angeles office of JAMS, or its successor (“JAMS”) in effect at the time the request for arbitration is made (the “Arbitration Rules”). The arbitration shall be conducted before a single neutral arbitrator familiar with the motion picture industry appointed in accordance with the Arbitration Rules. The arbitrator shall follow applicable State law set forth in the Main Agreement and the Federal Rules of Evidence in adjudicating the dispute. Upon conclusion of any arbitration proceedings hereunder, the arbitrator shall render findings of fact and conclusions of law and provide a detailed written opinion setting forth the basis and reasons for any decision. The parties waive the right to seek punitive, speculative or consequential damages and the arbitrator shall have no authority to award such damages. The determinations of the arbitrator shall be final and shall not be subject to judicial review; provided, however, that any award or determination rendered by the arbitrator may be entered in any court of competent jurisdiction. The parties shall share equally the costs of arbitration, including the costs of transcribing the arbitration, but each party shall bear its own attorneys’ fees and related costs, unless otherwise provided by law or statute. In no event shall Vendor seek or be entitled to obtain rescission, injunctive or other equitable relief.
We kicked off our first screening for our Independent Film series on August 30, 2012. It was an enjoyable evening as we screened 10,000 Days with many of our clients, new and old. The night was filled with conversation, laughter and cookies!
Foo Fighters: Back and Forth screened September 27th,2012 to a full house and a Q&A with Award winning Director James Moll and Senior Colorist Keith Roush. A good time was had by all. Stay tuned for for next film announcement.
The buzzword of “Digital Cinema Mastering 101” is DCP, or Digital Cinema Package. A DCP is a collection of digital files used as a standardized delivery method for a film and is intended to match, if not surpass, the quality of 35mm prints. In more tangible terms, think of a DCP as a very powerful USB drive. As Allen ran down the advantages of using a DCP to deliver one’s film, the obscurity with which the workshop attendees had perceived that acronym only moments before all but vanished. Among those advantages, and most notably for indie filmmakers, were the cost benefits. While the cost of a feature film print is somewhere in the range of $1,500-2,500 per print, a feature-length DCP is estimated around $150-650 per unit for unlocked versions. Additionally, the “media integrity,” or physical vulnerability of a DCP is nowhere near as fragile as a 35mm film print or even a Blu-Ray, as it is less susceptible to heat and light damage (at least for now). And finally, but certainly most relevant, is the prevalence of digital cinemas around the world that are capable of playing a DCP and giving presentation standards parity. The format is well on its way to broader acceptance and is already accepted at most major film festivals (Sundance, Toronto, Berlin among others) globally as well as at both mainstream and art house theatres around the world.
After completing the mastering process and obtaining a hash checked DCP, there are several options for duplication of the package, as identical copies can be created individually or in batches.
As Graef Allen wrapped up her presentation, a room saturated with self-sufficient artists and creative DIY filmmakers appeared rapt by the notion of seeing a film’s evolution through to the final stages of mastering. During a day dedicated to achieving ultimate artistic autonomy, Allen had expanded on the boundaries of creative independence.
Allen noted there would be significant financial incentives for filmmakers with the gusto to do their research about mastering and distribution options.
Roush Media recently completed the color grade on the feature film Faith of our Fathers. Shot on the Red One and graded with Digital Vision’s Nucoda Film Master, Faith of our Fathers tells the story of two men setting off on a journey to learn more about their fathers. The film stars Kevin Downes, David A.R. White, Stephen Baldwin and Candace Cameron Bure.
As a boutique post production facility located in Burbank, CA, Roush Media specializes in digital intermediate color grading, but also provides many other post services. Roush Media’s Senior Colorist, Keith Roush, has over 10 years of experience color grading feature films, short films, and commercials. Roush Media chose to conform and grade the original R3D files in the Nucoda from a Final Cut Pro 7 editRoush Media chose to conform and grade the original R3D files in the Nucoda from a Final Cut Pro 7 edit. For the film’s visual effects shots Roush provided the VFX artist with a LUT and LOG pre-graded DPX VFX plates. Roush Media decides with the filmmaker what the best workflow will be for every project they finish, whether it is conforming the original R3D material like Faith of our Fathers or coloring from a ProRes Log-C file with an Arri Alexa project.
Setting the look for Faith of our Fathers was a collaborative process for both Senior Colorist Keith Roush and Producer Kevin Downes. The film is set in two different time periods-during the Vietnam War and the present day. “Having two different time periods created a fun and interesting time in the DI Theater for Kevin and me,” says Roush. “We wanted the film to feel organic in nature and decipher the difference between time periods. That’s why we created a cold, gritty, reversal film look with the Vietnam War scenes and kept the present day naturally colorful and warm. One of the most dynamic looks we had to tackle was the film look for the Vietnam War flashback scenes. We took footage shot with the modern day digital Red camera and created an organic look that gave the footage the color and texture of an older film stock without making the footage look over-processed.Of course you can go with a bleach bypass look for a war scene but for this film that was not the intention,” says Roush.Keith developed a look with less sharpness, less natural color & less image detail to take the edge off the digital characteristic of today’s camera technology. “The idea behind this process was to make the footage look identical to what you would get with an older film stock,” Keith said. Using the Nucoda DI system’s blend modes Keith added film grain to give the footage the right texture. He wanted the look to aid the audience to feel the grittiness and emotional impact of the Vietnam War scenes.
Aside from creating the desired look, Keith had to overcome a different obstacle by mixing day-for-night with true night in some of the war scenes. He described the color session like this: “It was time to take on the next war scene. I was grading the first shot of the scene until Kevin stopped me. Then he told me that the scene we were on is intended to be night. When you’re coloring day for night it can get tricky especially when some scenes in the program are already shot for night. I placed my hand on the panels and went to town setting the look for the night scenes. I then went back to the day for night scenes and started to match the shots by adjusting color, creating shapes and using the Nucoda’s blend modes.” Once these nighttime war scenes were completed Producer Kevin Downes sat down in the theater to watch the final colored picture: “The film really felt like a much bigger budget theatrical film than it is. The DI color work really increased the production value.” Using the Nucoda DI system’s blend modes Keith added film grain to give the footage the right texture.
Color grading is a big part in finishing a film. You may not realize it until you experience what a good colorist does, but once you come into a color session and start working with the images by enhancing the color and creating looks you realize that it’s a whole other process of bringing your story to life on the big screen. The way you can use colors to tell a story is quite amazing and adds a lot of production value. Roush Media prides itself on their DI Color work while giving a post boutique experience for the filmmaker. Keith says, “The finished product is always a creative and collaborative process between us and the Director, DP, and Producer.” Roush Media likes to use their talent and technology to vividly bring stories to life with color.
Roush Media is a boutique post-production company providing finishing services for Film, TV, and Commercials-catering to the needs of the smaller production company. Among the services offered are finishing & editing, DI color grading , D-cinema Mastering, file conversions & transfers, deliverables, mastering & more.
It is always best to plan ahead. The usual procedure is to make a “pencil” booking as early as possible and then reschedule it if necessary. The pencil booking means that we can give advice before we start the finishing and grading sessions and if other bookings wish to confirm the same time, the pencil has the first refusal. More often than not, the initial dates change, but everyone works together to keep the schedule as tight as possible.
Getting a request to start a big job tomorrow can be difficult to accommodate. We always recommend getting your finishing post house involved in the project as early as possible. Of course, post-production is often unpredictable and we are here to solve problems. A preventative measure like this can save you money in the long run!
The booking needs a start date and duration. Based on the project’s many details, we will help you determine the ideal workflow and schedule for finishing. The duration will depend on many, many things, but here are some guidelines:
• Feature Films: Typically 1-5 days conform, plus 1-3 weeks Color but ranging from 2 days to 6 months! The conform is faster than a Documentary but it takes longer for color grading.
• Documentary: Typically a 1-2 week conform, plus 3-7 days of color.
• Broadcast: Typically 30 minutes of material per day for grading in addition to other services.
• Short Films: 1-3 days.
• Commercial Selects: Typically ½-2 days.
• Music Videos: Typically ½-2 days.
Be realistic about the length of time you need or would like. If you don’t have to rush it, you can put more time into making your project look the best it can. It also affects availability, rates, and final cost.
Factors of Cost
How long is the program?
This affects everything and is often one of the first things we ask to figure out the amount of time necessary for the conform and color grade. Make a note of how long the program lasts, how many reels or episodes it is made up of, and an estimate of the number of cuts. If we are conforming the project, be sure to mention the number of tracks as well.
Will the program contain vfx or animation?
If there are vfx or animated elements, how many shots? Do we have mattes for the composite? Mattes can save a great deal of time and give you much better control during grading. There are many ways to optimize these special effects elements. Working out the creative idea and workflow ahead of time is recommended.
How is it shot?
If it is shot on film, does it need to be telecined or scanned? Do you want your DI in HD, 2K or 4K? If it is 16mm, it is more likely to need grain reduction than 35mm.
If it is shot on SD or HD video, the process is very straightforward but the dynamic range is often limited and that will impact the color grading and possible look.
If it is shot with any of the newer data style cameras, it is important that we plan a suitable workflow with you to preserve any metadata and manage the color space through the dailies to the editorial and the finish. Cameras which have their own proprietary formats or characteristics include (but are not limited to) Viper, Genesis, D21, Sony F65, Red and ARRI Alexa.
If the source material is available as log or other proprietary log-like images, we would prefer them. Images that are sourced as log and kept that way have a greater dynamic range and we have more control over them in the color grade. We have often come across material that was shot in a proprietary log format but was then transferred to a more universal format such as .dpx and converted to linear in the process. There are other workflows that can compromise image quality even though sometimes that cannot be helped. It is never too early to discuss workflow, but it is often too late.
What format will be used to grade from?
Often this is determined by the previous question. (i.e. DPX, R3D, QuickTime Codec, MXF, HDCam-SR tape). With DI grading, the source material for color enhancement might depend on the editing system or another part of the post-production pipeline. The main reason for specifying the grading source is to check compatibility. Our Nucoda works with all of the above formats.
What format is the main deliverable?
Most jobs are primarily for a film, digital cinema or video finish. This determines the monitoring setup or color space of what we work in. Video (and Blu-ray) jobs are quite simple and require our Sony BVM broadcast monitor set to Rec 709 calibration. Film or Digital Cinema jobs require our DI theater or the BVM and must be calibrated to the lab’s film recorders or P3 Digital Cinema specs. Calibrating a digital projector for film recording is a lengthy process, but once it is done the match can be remarkable.
A Nonlinear DI System conform vs. FCP or Avid Conform
Working from a timeline conformed in the grading system has many big advantages but it usually takes a bit longer for the conform to translate some of the metadata from the offline edit (i.e. Flops, and other effects and filters). Ideally, the editor/director would check the conform and sign off on that before the actual coloring begins but that is not always practical.
Grading from a flattened onlined timeline from FCP or Avid is quicker and safer, but the accuracy and latitude of the color correction is sometimes compromised, particularly over transitions and composites. What we choose is based on the project details.
Color grading adds fantastic production value; everything looks better no matter how small the budget is. The principal benefits are:
• To correct continuity
• To stylize the images
• To match or add effects
All projects involve all three of the above goals, but it helps to know which is the main concern. It will probably not affect the quote much, but it helps to have an understanding of what is expected.
If you would like further advice or need a quote, please contact keith@roush-media.com or call (818) 559-8648.
As a proud sponsor of the 168 Film Project ROUSH Media will be awarding three $1,000 gift certificates to the Best Editor, Cinematographer and Film. The certificates will cover Post-Production services including DI Color Grading, Blu-Ray & Digital Cinema Mastering, Edit Suite & Screening Room Rentals
The 168 Film Project is a faith friendly, values-friendly practicum for artists focused on the media. 168 provides a proving ground for filmmakers, writers, actors and all interested in creating stories for popular culture.
On Aug. 10, 2013, the Best Short Filmmaker will win a feature film production budget up to $1 Million (minimum award $250K) Details here.
More than an international short film competition, “168” asks deep questions. Filmmakers, writers and audiences alike explore scripture as they go. Is it really relevant today? Whether subtle, or bold in message, “168” stories change lives and help to redefine the genre in terms of quality and inspirational message.
Please understand that taking story from scripture does not mean you must make the next Jesus movie. To do well in 168, artists must make compelling entertainment. Pop culture needn’t be at odds with faith-based, faith-friendly or values entertainment. We value all three. See examples here.
The 2012 festival was a great success and we enjoyed viewing the many short films made by talented filmmakers. We cannot wait to see what is in store for the 2013 festival.
At ROUSH Media we are proud to support the vision of Christian Filmmakers.
This short film was shot in Joshua Tree National Park on the Sony F65 by Bertone Visuals. Here at ROUSH Media we generated ProRes QuickTime dailies using the DaVinci Resolve for a Final Cut Pro edit. Then we conformed the footage in the Nucoda Film Master using 16-bit OpenEXR (S-gamut, S-Log2) files at 4K (4096×2160) and graded them in our theater in P3 color space. After mastering out for Digital Cinema & Rec-709 we compressed an H264 Quicktime for YouTube.
Off-Line / On-Line Color Grading? A new service for Colorists & Indie Films
ROUSH Media has just announced a new service they are providing at their DI boutique post facility in Burbank, CA–integrating the idea of offline/online editing to color grading and finishing. ROUSH Media seeks to give freelance colorists and indie filmmakers a facility to call home with the full support of their engineering staff so colorists can do what they do best–color grade. For the savvy independent DIY filmmaker these color services are a perfect blend of the full service DI facility support and the cost saving of the DIY filmmaker.
This service provides colorists with the option of choosing between two color grading platforms, the Nucoda Film Master and panel or the DaVinci Resolve with Black Magic’s grading panel. Both are offered in the DI Theater and grading suites. The theater is equipped with a state-of-the-art 4K Barco projector for monitoring in P3 color space, and the calibration is checked before each session to maintain the highest standards.
For clients, this will provide cost savings and increased attention to detail while boosting the quality standards for Indie projects. The amount of time colorists can give to a project is usually limited by the budget. If colorists are able to use a low cost suite to do much of the color grading in and then move into the large DI theater for a final trim pass for mastering, higher quality work can be done within the same limited budget.
Besides the colorist and system, the monitoring is the most important piece of technology in the room. Lower cost monitors often introduce problems that may or may not be in the footage itself, such as banding, noise, poor shadow detail, aliasing, color calibration problems, and more.
Having a complete color grading environment with calibrated monitoring, scopes, and a color management system is an ideal working atmosphere for colorists and their clients. This provides peace of mind knowing that what they see is what they get when using ROUSH Media’s engineering & color science.
For freelance colorists who work at home or remotely, this service allows colorists to hold client sessions with ease while having the option of using the staff at Roush Media in areas such as media management, conform, color space and Luts management, and deliverables. ROUSH Media’s Senior Colorist is also available to collaborate on the project for whatever may be needed.
Services Offered:
Resolve Offline Grading at home or in a low cost suite
Hold a session with your client in a professional color grading environment
Use our state-of-the-art 30 seat S3D, 4K Barco Theater for final grade
Check for look of final film or DCI Mastering in the DI theater
Use our Calibration & LUTs for your Color Management
Let us take care of your conform and/or Deliverables
Cost effective: includes the full support of our systems and staff
No matter what the budget is, ROUSH Media is there to help you exceed your client’s expectations with the full support of a top DI Post Production Facility. So don’t get lost in the dark! Quality control your image in the perfect grading environment!
