With this system, it was just an EDL straight into the system, let it transcode for 15 minutes or however long, depending on the clip length, and then upload it straight to the vendor right away.” “Typically, if you’re doing VFX pulls, you create an EDL with all your VFX shots and you send it to your dailies vendor, whoever’s holding your negative, and they’ll pull the shots, upload that back to you, and then you upload it to the vendors. VFX editor Jon Carr’s workflow also benefited from NextLab, which streamlined the process of generating VFX pulls for ILM. “If Joe wanted to see if a shot was a little soft or had any other problems, we could export an EDL, transcode it on the fly out to 4K on NextLab, and then get it back in the system to check things out.” “The fact that once we got into post we had all the camera negative literally in the same room with us was a huge asset,” Clarke says. The camera original media and database were synced to another NextLab system at Margarita Mix so that editorial had everything available first thing in the morning. All of the footage was transcoded to 2K ProRes 422 QuickTime (not MXF) files that were uploaded to Santa Monica overnight, with Premiere-ready metadata and projects. While principal photography took place, the NextLab system was set up near location, where the F65 footage was ingested, dailies synced, and the on-set color grade applied. The film shot in New Mexico, but editorial was set up at Margarita Mix, a FotoKem company, in Santa Monica, CA. FotoKem’s NextLab Brings the Camera Negative into the Cutting Room Deliverables included not just a 4K DCP but an Imax version as well. The shoot took place in New Mexico, where DP Claudio Miranda’s crew was capturing 4K (4096×2160) footage with the Sony F65. It wasn’t going to be an lightweight job. “But I was a little nervous when he said, ‘We’re doing it in Premiere.’ I had never done a feature film in Premiere. “Billy loves pushing the envelope of technology, and I love that too, so we were on the same page in that regard,” he recalls. “Supe” Eric Marsh (Josh Brolin) berates Brendan McDonough (Miles Teller) during training in Prescott National Forest in Only the BraveĪt the beginning of the project, Clarke met with editor Billy Fox about the job before before he realized the show was going to be edited in Premiere.

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