This is a basic guide on how to get your DaVinci Resolve Project over to us for Final Post

This is a basic guide on how to get your Premiere Project over to us for Final Post.

All drives that are shipped around with production data on them should be encrypted. Especially when shipping rushes. Below is the most simple approach to dealing with drive encryption via software when hardware encryption isn’t available.

Every production requires a bespoke solution for editorial; whether they are located at home, in serviced offices, or in the production office, we need to take into consideration a number of variables such as internet speed and location, as well as the data management and security demands of the project. The fundamentals of our craft editing solutions are covered below. Contact our bookings team for pricing and additional information.

Once you have unlocked the padlocks and pulled everything out of the case you can follow this diagram for setting up our review systems.

We are able to provide synchronous and asynchronous review during our finishing process. The asynchronous approach is preferred as it saves a lot of cost to production by having members of the team review and give feedback on their own time rather than having talent, suites and equipment tied up during the process. It also gives the most reliable viewing experience regardless of internet and network challenges that can inhibit live review. The synchronous option is a great way to quickly spot check changes or adjust elements live when a finer level of control and feedback is required. Our review options are covered below. Contact our bookings team for pricing and information.

This is a basic guide on how to get your DaVinci Resolve Project over to us for Final Post

This is a basic guide on how to get your Premiere Project over to us for Final Post.

There has always been plenty of whinging about the lack of Apple’s commitment to professionals but throughout my career I’ve been able to look at what Apple is doing and see where they are taking us. It has always excited me but for the first time I’m a little concerned, so it’s a good time to throw a few solutions into the ether and hope that one or two find their way to the Apple development teams. Here we go…

If you missed part 1 about October Films using FLiP to enable cloud editorial catch up here. Jon Hagan the Edit Supervisor for Spring Cleaning Watch (w/t) said we can share his thoughts two weeks in to using FLiP: