◗ Leading Lady Redmayne takes direction from Hooper. 94 poly, from the level underneath." DIT Bagley worked in an on- and near-set lab, where Redmags would be offloaded, checked and backed up to RAID storage for a working copy, and then onto 4TB hard drives that were archived to LTO-5 tapes. Images were evaluated in Rec 709 using Sony PVM monitors, and Bagley worked with Blackmagic Design's DaVinci Resolve for color management and transcoding, since it also would be used for grading. At the end of the day, Bagley provided Cohen and Hooper with graded stills from each setup via e-mail or iPad download. Footage was also transcoded to 1920x1080 DNxHD36 MXF files with adjustments burned-in for editing by Melanie Ann Oliver on an Avid Media Composer. The cutting room was usually given the material on hard drive, and when the production was shooting out of town, it would be uploaded using Aspera file-transfer software. The offline-graded files werehttp://www.creativehandbook.com