Written By: Christine Bunish, Oz Magazine

Light Iron Boosts Atlanta Profile

 

Dawn of Digital Dailies (600px)


 

Los Angeles-based Light Iron has provided digital dailies services to productions in Atlanta for several years. Now, as part of Panavision, Light Iron is raising its profile in a town where Panavision Atlanta is already a fixture.

Currently, about 25 percent of Light Iron’s Atlanta business features its LILY PAD on-set creative color suite.

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“We can supply a LILY PAD system for DITs who don’t have their own equipment,” explains Paul Geffre, Light Iron’s head of business development and workflow strategy, “but most often we work with DITs who have their own systems and just augment their gear to optimize workflow.”

 

The bulk of the company’s business in Atlanta centers around its OUTPOST mobile dailies lab, which resides at a near-set location – often production or editorial offices – providing the most efficiency for the client. OUTPOST is capable of handling any format and creating multiple deliverables in faster than real-time.

Light Iron has provided digital dailies for Atlanta-area features Ride Along, Ride Along 2, Sleepless Night, The DUFF and is currently supporting OWN TV’s Greenleaf.

Universal Pictures’ Ride Along 2, which is slated for release early next year, spent approximately six weeks shooting in Atlanta. DP Mitchell Amundsen worked with longtime DIT, Kai Borson Paine, shooting RED Epic Dragon 6K with Panavision Primo 70 lenses.

“We provided Kai with high-speed SAS RAIDs to move media from the set to OUTPOST,” says Geffre. “He did color on the set and sent the SAS RAIDs, containing all the camera media, sound and CDLs, twice a day to Marc Goldbaum, our OUTPOST operator in the production office. Marc did the synch, applied the color from Kai, and processed Avid DNxHD and Pix files, which were sent via Aspera to editorial in L.A. “At the end of a shoot day all that morning’s media was ready to be streamed via Pix. By the next morning everything was ready for editorial, and by lunch the footage was archived on LTO. The RED format was a manageable size: about half a terabyte of data for an hour of shooting. OUTPOST workflows are designed to handle much more than that, so dailies don’t get behind.”

Geffre notes that, “nine times out of ten we can do a show with a single person in processing working with a DIT on set. On Ride Along 2 Marc was also able to handle 2nd unit. It took a little overtime on his part, but it was far less than using a second person.” The original Ride Along was shot ARRIRAW with a different camera team, but “from a creative and technical standpoint the dailies process for the sequel was not massively different,” Geffre points out. “Over the last few years things have settled down camera-wise. Everyone has become more comfortable with the workflows for digital cinema. Even when there’s a new toy, there aren’t massive sea changes in the way people shoot. We don’t care what format people use: high-speed Phantom, ARRI, RED or combinations of cameras. It doesn’t dramatically change how we do things.”

Light Iron and Panavision have plans for expansion in Atlanta. “In 2016, we will be opening an Atlanta facility with a theater and edit rooms for our clients,” says Geffre. “We are evaluating several potential locations and are very excited about joining the community here in Atlanta.” Currently, Light Iron is establishing a physical presence within Panavision in New Orleans, another major production hub where it offers mobile dailies.