The series is shot locally in Los Angeles on the Arriflex D-21. During production, digital assets arrive from set on OB1 data drives and are ingested daily onto the SAN. Utilizing a proprietary DiTV workfow, Lustre is employed to color correct and create selected takes for dailies. Final conform is done on Smoke shooting in Arri Log C. The files are published for Ascent Colorist Pankaj Bajpai to color grade the final picture in Lustre. At this stage, the show benefits from the flexibility of having access to the dailies color metadata as well as the full range of original images.
This tapeless workflow is very efficient, in a large part because of how well Lustre and Smoke talk to each other. Because everything remains as data throughout the process, we can do concurrent servicing of our workflow.Ascent was already moving toward file-based workflows, and its purchase of Postworks helped accelerate its move into the tapeless world. Ascent’s adoption of a fully digital pipeline has helped accommodate multiple television episodic projects with tight budgets and short turnaround schedules.
Bajpai credits the facility’s tapeless environment with providing a 30 percent time savings over tape-to-tape workflows. “The true benefit of the process is that regardless of how much time we have, we’re able to spend most of it working creatively,” he adds. “You’re not making compromises, and you’re allowing various people in the chain to have their say and contribute to the final outcome. It becomes a much more satisfying process creatively.”
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