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Production & Post for Dead Reckoning.TV

I’m producing a new webseries for Red Futon Films called Dead Reckoning.TV. It’s a pretty straight-forward web-commentary. From a philosophical point of view, we wanted the online audience to feel like they’re sitting at the table with us right next to me so Brian will look back and forth from me to the camera. I’m the only one doing everything but I think the results are outstanding both for the content as well as the medium. I originally wanted to do a dual take single cam shoot on the Ikonoskop but my Canon T2i finally hailed on a wedding photo shoot so I picked up a Nikon D800 and then opted to do a dual camera, dual take shoot with a buddy’s 5D2 kit.

Brian’s camera is the D800 with a Zeiss ZF 50mm at F/4. The wide open/close segments are the 5D2 with a Zeiss ZF 21mm at F/2.8. We chose the location for the background as well as to maximize the natural light coming out of the large window’d garage door on Brian. To assist with the natural lighting, we’ve got a Nori reflective bounce off the window on to mostly Brian as well as an LED off a Nori white bounce from the floor up at him. I’m lit directly from a diffused LED on the non-natural light side.

What you see...

What we see

There is a Sennheiser 416 on myself and a Sennheiser 8060 on Brian both going to the Nikon through a Sound Devices MixPre. I can’t split the L/R channels at the camera (even when split at the MixPre) but it doesn’t matter since we take the open/close separate from Brian’s commentary anyway. The separate takes also allow me to get the mics up nice and close…I just have to not talk past it 😛

In post, I bring in all the shots to Premiere. There, I sync the 5D2 open/close video to the Nikon audio (good old finger snaps do the trick here) and lay everything up with Brian’s commentary. I also bring in the opening and closing animation and the After Effects linked comps for the closing credits.

Once it’s all edited, I export an FCP XML for Resolve. (AAF doesn’t work for Resolve). I grade it and export a single CineForm .MOV file. After I lay up the file in Premiere, I re-check it and export a contained .OMF from Premiere for Nuendo.

I import the OMF into an existing Nuendo project that already contains the mixed and timed bumpers, additional SFX and a stereo ambient track I recorded earlier during business hours at the same location on my Roland O9R. I move the imported audio files to the tracks will set EQs and mastering adjustments. I’ll also bring in the Cinefrom .MOV out of Resolve as my video reference. Once I tweak the audio, I export out a stereo WAV file and drop that back into Premiere.

I’ll watch everything back and make sure it’s good, then line up a promo clip from the following week and render that out to a CineForm master. From that, I’ll make my 6Mb, 1038, H.264 master for delivery.

Below is the most recent episode as of this posting.

#workflow #distribution #redfutonfilms #colorcorrection #tech #Production #lenses


©2019 by Jay Friesen.

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