MEDIA VAULT BRIDGES THE STORAGE GAP




WHITETAIL follows a broken family consisting of a father, an uncle, and the 15-year old son Donnie as they embark on a weekend hunting trip out in West Texas. Donnie’s mother has recently died of an overdose, and the trio hopes to get away from it all by being out in nature. Instead, they find a mysterious man, shot in the stomach, and clutching onto a backpack full of money. Who shot the man? Where did the money come from, and how long will they survive while criminals are all out looking for the cash?

We recently caught up with Jason Starne, Producer and Post Supervisor, who shared with us how valuable CODEX Media Vault was in the production of WHITETAIL.



“As a Producer and Post Supervisor, I must say having the CODEX Media Vault onset was crucial while making the film WHITETAIL,” says Starne. “We all know CODEX for its work with ARRI, but what about RED? Could we still take advantage of the CODEX Media Vault even if we weren’t using high-density encoding? HDE would have been nice since we were shooting with 2 RED Weapon cameras capturing at 6k anamorphic with a 2X squeeze from a 6.5 sensor crop (2:35:1 Widescreen), using only 5:1 compression. Thanks to Director Derek Presley’s meticulous shot planning and storyboards, we only ended up with 10.4 terabytes total OCN for the 12-day shoot.

“The production workflow was simple. Our A Camera utilized DSMC2, and we were able to generate QT ProRes proxies in-camera, while our B Cam was only the DSMC1, so we relied on Adobe Media Encoder for transcoding the R3D files to 1920x788 QT ProRes proxy files to match our A Cam.



“Each day as we broke for lunch, we would ingest around 500-600 GB from the Red mags to the CODEX Media Vault, which never took more than 30 minutes due to the direct connected 10Gb Ethernet from our DIT ‘s Windows-based laptop. After the transfer of the B Cam data, we would immediately start. We were generating proxies while our 1st AC would use the second set of mags for the rest of the shoot. At the end of each day we would swap mags and ingest another 500-600 GB of new R3D files and then be ultimately camera ready for the next morning, while editorial would have everything they needed from the previous day.

“The CODEX Media Vault comes as standard with four 10Gb Ethernet ports. In addition to our DIT loading the Red mags, we were even able to have the BTS (Behind the Scenes) team ingest images and video through an Apple Mac Pro laptop attached via a Sonnet Echo express via the 10 GbE network connection. This laptop was running Adobe CC, and the BTS team managed the occasional Photoshop and Premiere cuts for social media. All of this was happening while our senior editor worked on the main scenes without any hiccups or slowdowns. The editorial station, on loan from CineSys-Oceana, was a PBW Series (Purpose Built Workstation), operating Windows 10 Pro, with the Intel i9 14-core 3.2GHz/4.4GHzTurbo chip, 128GB of RAM, and an Nvidia RTX2080 GPU with onboard RJ45 10 GbE copper connections.

Since we were also storing the R3D files on the Media Vault and we had the workstation horsepower, we would often play with the ISO and Kelvin settings in Premiere for some look experimentation. The whole setup allowed us to quickly review takes and scenes for QC, continuity, and lighting setups very soon during the shoot.”






Camera Type: RED Weapon
Director: Derek Presley
Director of Photography: Garrett Schwindt
Post Supervisor: Jason Starne




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