LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

CineWave gives Final Frame network quality at a small business price

COW Library : Pinnacle CineWave : Will Cox : CineWave gives Final Frame network quality at a small business price
CinéWave gives Final Frame network quality at a small business price
A Pinnacle CinéWave Success Story

CinéWave gives Final Frame network quality at a small business price

If it weren’t for Pinnacle Systems, Will Cox would still be just a Final Cut Pro engineer at the Oxygen Network, not co-founder of his own postproduction company in New York City. He and his partner Youna Kwak founded Final Frame and retained Oxygen as a client, and he has his CinéWave system to thank.

Pinnacle Systems alone has reduced the barrier of accessibility to open a post production company with a single major client without having to incur huge leasing costs or spend a lot of money, said Cox. If it weren’t for the CinéWave card, there’s no way we could have done this.

Since March of this year, Final Frame has successfully delivered the entire second season of The Isaac Mizrahi Show, the highest rated show on the Oxygen Network. The charismatic Mizrahi, a well-known fashion designer turned entertainer, invites celebrities, artists, and accomplished friends to join him for various activities, both on his all-white studio set and out in the world. Guests as varied as Natalie Portman, Janeane Garofalo, John Leguizamo, and chef Rocco DiSpirito participate in antiquing, clubbing, or cooking, all the while revealing the funny, accidental, and intimate details of their lives to Mizrahi. A hybrid between documentary verite, and glamorous talk show, the Mizrahi Show has a unique sensibility that makes it both refreshing to watch and a challenge to edit.

The show had a rough first season – the white set was difficult to color correct, said Cox. At that time, the editing was done erratically on Final Cut Pro, but in three different locations, and it was finished on an Avid Symphony. I pitched the idea of doing everything on Final Cut Pro since version 3 had color correction. It had come far enough to take high-end finishing away from Avid. With CinéWave and Final Cut Pro 3 we could offer uncompressed workflow with real-time color correction and no rendering. The quality was similar to Avid for substantially less money and it was faster.

Everything shot in the studio for The Isaac Mizrahi Show is on high-end DV Cam, while any remote footage is shot on PD150’s. We digitize edits in DV because it’s easy – we can do the entire edit in four rooms, with four suites and four editors, said Cox.

Final Frame’s facility is built on a Rorke fiber channel array that ingests data all day, and all four suites work from a common pool of that data. They have a Sony DSR1500 with SDI output, so they can take DV footage up to uncompressed and edit all of their material in real time.

The entire workflow is digital start to finish to preserve the high quality of both audio and video, said Cox. DigiBeta is the digital format for broadcast, so we can take directly from CinéWave into DigiBeta without conversions to DV; we don’t have to run converters from analog to SDI. So we deliver DigiBeta with the least artifacts and generational loss.

In the short amount of time that Final Frame has been in business, Cox has already seen the huge advantage that CinéWave has over other systems he has used in the past, particularly in the area of time and cost savings.

Once in the middle of a color correct session, we had to accommodate an emergency picture edit. We were able to seamlessly send the digital material into another edit room, where one editor made the picture change while we continued color correcting, without interruption, recalled Cox. It saved us a half a day, and saved the client a lot of money. And it was all seamless with Final Cut Pro.

From network clients to independent filmmakers, his clients have been satisfied with the results he has been able to achieve and the budget with which he is able to do it.

Basically, we are able to offer high-end workflow using CinéWave and save people an extraordinary amount of money, said Cox. Across the board, Oxygen has been exceedingly pleased with the results. They’ve been able to maintain Symphony-level quality, at a much lower budget.

In addition, adding seats doesn’t cost a lot, so we can work with independent filmmakers who don’t have the luxury of big post budgets. We’re providing access to high-end technology to people who could have not afforded it in the past.

Cox has been in the editing business for a long time and has worked with a lot of different editing packages. By leaps and bounds, I’ve had the most success with CinéWave, he said. It offers more features and generates more consistent work than any other hardware I’ve used.

# # #



Related Articles / Tutorials:
Pinnacle CineWave
CineWave v4.5

CineWave v4.5

Apple has really changed the face of Post Production with the power and affordability of Final Cut Pro. In Creativecow leader, Walter Biscardi's view, the real power of the product is its flexibility. From offline to uncompressed HDTV, from laptop to desktop, FCP gives us unparalleled flexibility as creators. Recently Walter took FCP on the road for a three day corporate shoot and found it to be a major tool in the project.

Editorial
Walter Biscardi
Pinnacle CineWave
A Look at CineWave 4 for OSX Jaguar

A Look at CineWave 4 for OSX Jaguar

Walter Biscardi is a leader in both our Final Cut Pro and Pinnacle CineWave forum communities where Cow members have long appreciated his friendly and insightful input. In this article, Walter explores the new powers found in Pinnacle's CineWave 4. Walter is a longtime user of CineWave, having used it in many projects in his studio where he serves a long list of corporate and broadcast clients. How does the new CineWave meet his demands and expectations, along with those of his clients? Walter takes CineWave 4 out for a demanding ride and gives Cow members his verdict as a user whose own investment is behind his opinions. This is no editorial done by a trade journalist with a unit for review, these are the words of a guy whose own investment and decisions either makes or breaks his company's future. See what he thinks of CineWave after owning one for quite some time and growing with the system as it has developed...

Review
Walter Biscardi
Recent Articles / Tutorials:
Field Production
“Before I forget: don’t wear any underwear.”

“Before I forget: don’t wear any underwear.”

Before coming to Creative COW, before his lives in product marketing and product management at Avid and Boris FX, Creative COW Editor-in-Chief Tim Wilson ran a video production company. As we also observe the 100th Anniversary of the founding of the US Parks Service, Tim recalls one one especially memorable adventure to Everglades National Park, wherein he found himself quite literally up to his armpits in alligators. He had no idea that this was going to happen when the day began. At the time, he was focused on a brand new fear: getting sliced in half by burning underwear.

Editorial, Feature, People / Interview
Tim Wilson
Art of the Edit
The Science of Editing

The Science of Editing

Sven Pape, aka @ThisGuyEdits, joins Dr. Karen Pearlman -- former President of the Australian Screen Editors Guild and a three-time nominee for Best Editing at the Australian Screen Editors Guild Annual Awards -- for a provocative look at "Editor's Thinking," a cognitive skill set that you can use to improve your screenplay before you start principal photography of your film.


Sven Pape
Panasonic Cameras
Shooting MTV's Mary + Jane with Panasonic VariCam 35

Shooting MTV's Mary + Jane with Panasonic VariCam 35

To shoot the ½ hour scripted comedy series for MTV, Mary + Jane, the producers at Television 360 enlisted cinematographer Charles Papert (Crazy Ex-Girlfriend, Key and Peele), who found that Panasonic VariCam is a great fit for moving fast and getting great images when time and resources are scarce.


COW News
Adobe After Effects
Imagineer mocha Pro 5 Plug-In for Adobe: An In Depth Review

Imagineer mocha Pro 5 Plug-In for Adobe: An In Depth Review

Imagineer mocha Pro 5 Plug-in for Adobe brings all the amazing features of the professional version of the mocha Planar Tracker directly into After Effects and Premiere Pro in the form of a plugin. In this in-depth review, After Effects tutorial guru Tobias Gleissenberger of Surfaced Studio will show you what you can do with this new plug-in, and discuss what he likes and doesn't like about the new update.

Tutorial
Tobias Gleissenberger
Apple Final Cut Pro X
Hawaiki Keyer 3.0 Upgrader Tutorial

Hawaiki Keyer 3.0 Upgrader Tutorial

After 25 years as an editor, compositor, and VFX artist, frequent Creative COW poster and tutorial author Simon Ubsdell knows what he needs from a keyer -- and knew he wasn't getting good enough results from FCPX or Motion. Discussions in COW forums led him to create the highly regarded Hawaiki Keyer for Mac users using Apple Final Cut Pro X, Apple Motion, and Adobe After Effects and Premiere Pro on Mac as well. Enthusiasm expressed by COW members for its latest release led us to ask Simon for a tour of the even more advanced Hawaiki Keyer 3.0.

Tutorial
Simon Ubsdell
Cinematography
All Eyes on IBC 2016 for Cameras and Lenses Galore

All Eyes on IBC 2016 for Cameras and Lenses Galore

What’s that you say? An IBC that’s not only relevant, but downright exhilarating? This used to not be news, of course. However, in recent years, IBC has too often become simply an opportunity for European audiences to see products already announced at NAB. In 2016, however, the focus swings sharply to Amsterdam, especially when it comes to cameras and lenses. IBC 2016 is shaping up to be one of the most dramatic trade shows for cinematographers, broadcasters, and videographers in years. Join Creative COW Editor-in-Chief Tim Wilson for a speedy overview of some of the highlights.

Feature
Tim Wilson
Art of the Edit
Film Editing Tutorial: How To Crush The First Notes

Film Editing Tutorial: How To Crush The First Notes

It's happened to you. The first cut sounds noisy, has compression artifacts, actors aren't giving their best performances -- and the director has notes about all this and more. Follow along as Sven Pape from "This Guy Edits" works through some of these very issues on the film he's working on, with tips on how deliver exactly what YOUR director is looking for.

Tutorial
Sven Pape
Adobe After Effects
After Effects 2015.3 - My Favorite Features

After Effects 2015.3 - My Favorite Features

Learn why you should upgrade to After Effects CC 2015.3 - 13.8.1 - a close and detailed look at the latest release of After Effects (August 2016). Roei Tzoref will be focusing on his favorite features that set this release apart from previous versions: Performance, Queue in AME, Lumetri Color new features, and more.

Tutorial
Roei Tzoref
MORE
© 2016 CreativeCOW.net All Rights Reserved
[TOP]