Claude helped me figure out Inverse LUTs for my cheap Livegrade setup. Livegrading is something I never get asked to do in Florida. Production doesn't want to pay for prep, signal flow concerns, no extra kit fees blah blah blah. So I've never bought the LUT boxes or a Livegrade Pro subscription. A few months ago I found a workaround with my existing kit. I was on set with a DP using the standard ARRI 709 LUT, I piped the image back into my cart via Resolve Live and CST'd it to ACEScct — giving me a CCT intermediate to live grade from the cart. We used that to build a LUT from scratch for that job. Simple. But my ADHD brain couldn't stop there. What happens when a DP shows up with a bespoke LUT? How can I invert both the CST and the CDL data? Claude Found Colour, a Python library of color workflows. Inside it is an inversion tool that mathematically inverts both the CST and CDL data in the LUT. In practice: I can now get a clean LOG image into my signal chain without re-routing the VTR setup on set. DP gets a side-by-side live grade on my cart. Doesn't cost Production a penny more. Just a little extra sauce. EVERY SECOND COUNTS #DIT #digitalimagingtechnician #livegrading #Livegrade #ARRI #colorscience #LUT #ACEScct #filmworkflow #onset #ditlife #colorgrading #Silverstack #cinematography #postproduction

Headed out. Three day commercial shoot starts tomorrow. War Chest is loaded and Silverstack's ready. I switched my OWC X12 from RAID5 to RAID0, looking forward to trying out faster, more consistent write speeds. I've also got a cheeky lil hotspot coming with for a sea trial of on-set Proxy delivery. We shall see. 1x ARRI Alexa Mini LF shooting 4.5k OG - looking forward to playing with grades for a couple of days. Nice break from geeking out over data pipelines. EVERY SECOND COUNTS @wearepomfort @flandersscientific @skbcases @poweredbyowc #postproduction #DIT #digitalimagingtechnician #filmworkflow #ARRIAlexaMiniLF #ARRI #commercialproduction #onset #behindthescenes #filmproduction #postpro #cinematography #ditlife #Silverstack #commercialdirector

I've been heads down on this for a while. New site is finally live! stringout.io is built around three things I've spent the last decade getting really good at — Post Supervision, DIT, and Editorial. But honestly the foundation goes back further than film. I came up in kitchens. Four years cooking professionally taught me more about pressure, efficiency, and service than anything else I've done. That passion for service is the basis of StringOut. The new site goes deep on the work — project breakdowns, workflow diagrams, the technical story behind some of the most complex productions I've been part of. If you've ever wondered what it actually takes to move 150TB of media from a race track to a Prime Video delivery, it's in there. This is the work. This is the philosophy behind it. Go take a look. Link in bio. Every second counts. #postproduction #DIT #digitalimagingtechnician #filmworkflow #remotepost #documentary #NASCAR #primevideo #netflix #redbull #filmproduction #postpro #editlife #cinematography #behindthescenes

It was such a pleasure getting to lead post on Runaway Kiwi. These days I find myself doing so many jobs to pay our bills, and very few that fill my cup. Runaway set the tone for next phase of my career. I owe a huge thank you to Unrivaled Films for bringing me on. I got deep in my bag on this one for workflow | Editorial | Finishing | Color. You can see the full film on NASCAR’s YouTube channel. Also how about @svg97 being 5th in Cup points?? Almost like he’s figuring out the ovals 👀 Produced by: @safetyculturehq Executive Producer: Luke Anear Producers: @mjeppsen , Hamish Grant & Phoebe Dunstan Directed by: @jonhousholder & @jschafer034117 (@unrivaled.films ) & Blake Pelling DP: @mjeppsen Editors: @buddy_brett , @ryan__hensley , @jonhousholder & @jschafer034117 Colorist & Finishing Editor: @buddy_brett With thanks to: Trackhouse Racing, Robert van Gisbergen, Supercars & NASCAR Post Production: @unrivaled.films Post Production Workflow & Finishing: @stringout.io Dubbing Mixer: @orpheussounds Title Design: @noonswimclub NASCAR Studios: @timclark3 , John Dahl, Dan Barker, Jeremy Bramley, Brandon Cepelnik Additional Photography: @peterjnicoll , Shawun Townend, @jm_buford , @wesley.chesser Head of Brand at Safety Culture: @ashleigh.sorensen Gaffer: Craig McDonald Location Sound: Wendy Adams, Paul Schmitz

#ProductionInsight Race recap for Ferrari North America 🏎️⚡️ Buckle up for a behind-the-scenes look at Motul Petit Le Mans, one of the US’s top racing events! 👉To recap Ferrari’s performance on social media, footage had to move from camera card to edit suite to social channels almost as fast as the cars on the track. 👉For this interview, we spoke with Brett Ramker, the project’s DIT, post-supervisor, and editor: 💬„I helped Alex [Slupski, DP] design a workflow that would get me the footage as quickly as possible so I could cut it almost in real time.“ 🧡Check out how Silverstack Lab’s automated workflows became the engine driving their approach (link in bio). Thanks @stringout.io for sharing these insights with us! #wearepomfort #silverstacklab #MotulPetitLeMans #behindthescenes #dit #editor #workflowdesign

Technical Workflow Breakdown - Ferrari North America x Motul Petit Le Mans This campaign was a quick turn event recap for Ferrari North America. The event takes place Friday / Saturday and the first cut is due Sunday afternoon. It was shot primarily on Alexa 35 with support from an FX3, so we had significant technical challenges to feed footage back to Florida for a remote edit. Luckily the DP for this job Alex Slupski is very technically minded and understands workflow. Bandwidth - Alex and I built an easy to use footage pipeline for this job with Silverstack Lab & Suite Studios CloudNAS. Because we didn’t have the bandwidth to send full camera cards from the Alexa, we opted to do a mezzanine workflow. With SilverStack 9, this can all be built into the ingest job. I built out a HEVC preset that would serve as the mezzanine for the Alexa. The transcodes were written directly into my SuiteStudios local cache so uploads could trickle in the background. Look - Once we set the look for the Alexa, I printed a LUT that included the look as well as a color space transform to get the Sony from s.Cinetone to ARRI LC4. Unfortunately I came into this job late, and the b-camera operator had social deliverables that required an S-Cinetone workflow. With our LUT built I was able to essentially edit while looking at the grade. With this kind of quick-turn editing you have to be touching every part of the process as you work. Sound Design & Finishing - I’m normally a very spoiled baby who sends all my shows out for a mix. Smaller budget jobs like this one often require mixing & grading in the box. Artlist.io was a huge godsend with a robust FX library to choose from. Both cameras were wearing shotgun mics as well. Nat sound is very very important to endurance racing content as each car sounds different, so every shot sounds different. I make it a huge point to keep the cars sounding good and being the dominate sound in the mix for these style of pieces. @wearepomfort @artlist.io @alexslupski @suitestudios.io

Last Ryder Cup post I promise 😆 . . It’s been a minute since I last did a super quick turn project, and to be honest this was the first one where I didn’t have to be a hero. My mission was 70% workflow, 30% post - but headed in my expectations were 100% / 100% as this type of work typically necessitates. Luckily for me our director Will brought the secret weapon, Mike Csorba. Let me tell you something. I’ve never met a dude his age with that skill set. Style, creativity, determination and rigid organization all wrapped up in a friendly endearing package. Mike absolutely carried the team on his back through that week. We had instant workflow chemistry from the moment footage started rolling in. I was happy to spend my week ally-ooping him StringOuts & selects for him to slam dunk into edits that Ralph loved. I cut a couple pieces that I’m very happy with as well. . We also had an A1 camera dept on this job anchored by Marshal and Mateus. Lots of good practical in camera effects. And everyday they kept getting better footage of the same locations. That’s so rare in the world of events. If you’ve shot events you know how hard it is to stay engaged with the same activations, not for those fellas. Christian held it down with the crowd and competition footage we couldn’t shoot. . . For workflow, I build an Adobe Premiere production to house a library of footage, stringouts and selects. Housed on a 7bay Ubiquity UNAS pro for maximum collaboration. We did a traditional offline proxy workflow to maximize throughput as everything was 10Gbe. We probably could have benefited from a strong AE but you know how hard it is to travel another body for event work. For the next one I’m thinking bonded cellular uplink + CloudNAS and a remote AE. . . At the end of the weekend we had defied client expectations and ended up wrapping before the event did. Absolutely unheard of in this space. My expectations were set at heading straight to the airport from the event after working overnight. . . 10/10 experience, this team is too good to not do it again.

Shoutout to The Unlisted Co for empowering me to build the tool our team needed to execute. Most of my jobs will hand me a 3 year old half full Lacie rugged and say good luck! Full workflow breakdown below. . . This was my first time working with Ubiquity products and I’m very sold. The GUIs are awesome and everything is very easy to setup and use. Compared to Synology and Qnap this thing feels much better for a lot less money. . Built with 7x Samsung EVO Pro 4TB SSDs for a 20TB storage pool in RAID6. Looking back R6 was probably a little excessive for this job as I was running cascading backups with Silverstack. . Premiere Pro necessitated that we work fully offline via proxy. Unfortunately the geniuses at Adobe haven’t figured out how to make PP not extraordinarily sensitive to media storage. The Raid was fast but not fast enough to keep OCF and Proxy attached in real time. Once we switched to full offline nothing was bottlenecking the raid. . So we did library project in the production, proxies attached with OCF offline ➡️ conform project, generate source media from timeline, relink to OCF, detach proxy. . This is my preferred way of working anyways as it keeps each deliverable isolated in its own project which makes revisions after delivery very straightforward. . #postproduction #nas #ssd #sendit

Back on the road running that dog with some incredible people. It’s always a pleasure to try and show the real magic of Florida. DIT and daily Selected Stringouts for this job. 3 hero cameras, drone, underwater and a 360. Peep the hotel room dailies lab 💻 Wanna get me on your next job, jump in my DMs 🫡