Sundance Film Festival

“We knew we would have to do a DI from the get go,” says Padre Nuestro DP Igor Martinovic, “Time and finances were not on our side and we were using a lot of available light.” Joe Beirne describes how in addition to doing a DI process to a 4:4:4 scan of Martinovic’s film footage (see previous post), Postworks also developed an end to end dailies to offiline Avid DNX post process at 10 bit 115mbps (which Beirne says he will try at the more efficient DNX 36mbps that Avid is soon to release).

(If you want to hear Beirne, Matt Feury from Avid and representatives from Arri–the film was shot on Super 35–talk about the workflow drop by NY Lounge.)

“We wanted to try DNX all the way up to DI,” Beirne says about why Postworks made the investment in the post path for Padre Nuestro. He says they want to standardize it for indies, possibly at DNX 36, while also being able to use the approach at a higher bitrate, such as the DNX 220 they are planning to use for a high-profile Hollywood feature this year. (stay tuned).

“It‘s a hard thing for a post production company to attach themselves to. Everyone‘s afraid of compression, but this is an economical way to avoid compromise. I don‘t want to be a compression salesguy, but DNX allows you to do things you couldn‘t otherwise afford to do,” Beirne says.

Post works runs their Avid offline and DS Nitris 8.0 on HP xw9300 and xw8200s. They‘re currently migrating to xw8400s for the redertime boost. The network backbone is a Unity SAN.

For more on Padre Nuestro, click here.