American Cinematographer - October 2009 - 77

last season. Seeking advice about Red One workflows, Naylor turned to visualeffects supervisor Mike Seymour, a colleague. At the time, Naylor didn’t know Seymour was an early Red adopter — he owns camera body #22. “Mike knew the path we’d have to go through,” says Naylor. “Immediately, all my anxiety dissipated.” Seymour and John Montgomery are co-founders of fxphd.com, an online training resource for visual-effects professionals. They recognized early on that the One would require a bridge between what’s required of the camera in terms of production and what’s required for a timely post process. On Red Dwarf, the cameras’ .r3d files were immediately copied to RAIDs for safekeeping; the files were then transcoded to Avid’s native DNxHD for editing in Avid, and the same project could be shared with Final Cut Pro via Automatic Duck Pro Import FCP 2.0. While one copy of the .r3d files stayed in London, ready for use in the final online, another was sent to Australia to be used for the visual-effects shots. Although Seymour designed Red Dwarf ’s production workflow, Naylor initially believed he couldn’t afford to have Seymour work on the actual episodes. Then, Seymour suggested he come aboard as the visual-effects supervisor and second-unit director, and that he use the artists and resources of his Web site to create most of the effects shots. “We put together what we called a Special Ops group, a group inside the fxphd.com structure,” says Seymour. He corralled 18 specialists and set up a virtual post structure enabling them to exchange files via a network built by Sohonet. The systems and programs used by the artists included Adobe After Effects, Apple Shake, Autodesk Maya, Inferno and Flame, The Foundry Nuke and RFX Pftrack. Seymour also tapped Fin Design & Effects in Sydney for some virtual set designs. In all, the effects team completed 262 shots in 27 days. Martin delivered textbook Above: The original shot, captured onstage at Shepperton Studios against a greenscreen measuring 50'x120'. Below: Cinematographer Andy Martin (gesturing) and visual-effects supervisor/2ndunit director Mike Seymour (left) examine the shot at hand. Images courtesy of Mike Seymour and Fxphd. American Cinematographer 77

http://www.fxphd.com http://www.fxphd.com

American Cinematographer - October 2009

Table of Contents for the Digital Edition of American Cinematographer - October 2009

American Cinematographer - October 2009
Contents
Editor’s Note
President's Desk
Short Takes: The Maine's "Into Your Arms"
Production Slate: The National Parks: America’s Best IdeaGeorgia O’Keeffe
Pitch Perfect
Hard Time
A Lyrical Love
Vicarious Thrills
Post Focus: Red Dwarf: Back to Earth
New Products & Services
International Marketplace
Classified Ads/Ad Index
Clubhouse News
ASC Close-Up: Lowell Peterson
American Cinematographer - October 2009 - American Cinematographer - October 2009
American Cinematographer - October 2009 - Cover2
American Cinematographer - October 2009 - 1
American Cinematographer - October 2009 - 2
American Cinematographer - October 2009 - Contents
American Cinematographer - October 2009 - 4
American Cinematographer - October 2009 - 5
American Cinematographer - October 2009 - 6
American Cinematographer - October 2009 - 7
American Cinematographer - October 2009 - Editor’s Note
American Cinematographer - October 2009 - 9
American Cinematographer - October 2009 - President's Desk
American Cinematographer - October 2009 - 11
American Cinematographer - October 2009 - Short Takes: The Maine's "Into Your Arms"
American Cinematographer - October 2009 - 13
American Cinematographer - October 2009 - 14
American Cinematographer - October 2009 - 15
American Cinematographer - October 2009 - 16
American Cinematographer - October 2009 - 17
American Cinematographer - October 2009 - Production Slate: The National Parks: America’s Best IdeaGeorgia O’Keeffe
American Cinematographer - October 2009 - 19
American Cinematographer - October 2009 - 20
American Cinematographer - October 2009 - 21
American Cinematographer - October 2009 - 22
American Cinematographer - October 2009 - 23
American Cinematographer - October 2009 - 24
American Cinematographer - October 2009 - 25
American Cinematographer - October 2009 - 26
American Cinematographer - October 2009 - 27
American Cinematographer - October 2009 - 28
American Cinematographer - October 2009 - 29
American Cinematographer - October 2009 - Pitch Perfect
American Cinematographer - October 2009 - 31
American Cinematographer - October 2009 - 32
American Cinematographer - October 2009 - 33
American Cinematographer - October 2009 - 34
American Cinematographer - October 2009 - 35
American Cinematographer - October 2009 - 36
American Cinematographer - October 2009 - 37
American Cinematographer - October 2009 - 38
American Cinematographer - October 2009 - 39
American Cinematographer - October 2009 - 40
American Cinematographer - October 2009 - 41
American Cinematographer - October 2009 - 42
American Cinematographer - October 2009 - 43
American Cinematographer - October 2009 - Hard Time
American Cinematographer - October 2009 - 45
American Cinematographer - October 2009 - 46
American Cinematographer - October 2009 - 47
American Cinematographer - October 2009 - 48
American Cinematographer - October 2009 - 49
American Cinematographer - October 2009 - 50
American Cinematographer - October 2009 - 51
American Cinematographer - October 2009 - 52
American Cinematographer - October 2009 - 53
American Cinematographer - October 2009 - 54
American Cinematographer - October 2009 - 55
American Cinematographer - October 2009 - 56
American Cinematographer - October 2009 - 57
American Cinematographer - October 2009 - A Lyrical Love
American Cinematographer - October 2009 - 59
American Cinematographer - October 2009 - 60
American Cinematographer - October 2009 - 61
American Cinematographer - October 2009 - 62
American Cinematographer - October 2009 - 63
American Cinematographer - October 2009 - 64
American Cinematographer - October 2009 - 65
American Cinematographer - October 2009 - Vicarious Thrills
American Cinematographer - October 2009 - 67
American Cinematographer - October 2009 - 68
American Cinematographer - October 2009 - 69
American Cinematographer - October 2009 - 70
American Cinematographer - October 2009 - 71
American Cinematographer - October 2009 - 72
American Cinematographer - October 2009 - 73
American Cinematographer - October 2009 - 74
American Cinematographer - October 2009 - 75
American Cinematographer - October 2009 - Post Focus: Red Dwarf: Back to Earth
American Cinematographer - October 2009 - 77
American Cinematographer - October 2009 - 78
American Cinematographer - October 2009 - 79
American Cinematographer - October 2009 - 80
American Cinematographer - October 2009 - 81
American Cinematographer - October 2009 - New Products & Services
American Cinematographer - October 2009 - 83
American Cinematographer - October 2009 - 84
American Cinematographer - October 2009 - 85
American Cinematographer - October 2009 - 86
American Cinematographer - October 2009 - 87
American Cinematographer - October 2009 - International Marketplace
American Cinematographer - October 2009 - 89
American Cinematographer - October 2009 - Classified Ads/Ad Index
American Cinematographer - October 2009 - Clubhouse News
American Cinematographer - October 2009 - ASC Close-Up: Lowell Peterson
American Cinematographer - October 2009 - Cover3
American Cinematographer - October 2009 - Cover4
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