Smooth Workflows for “Deadpool” – Part 2: Second Unit DIT Chris Bolton

Smooth Workflows for “Deadpool” – Part 2: Second Unit DIT Chris Bolton

Being the most succesful movie of the X-Men franchise and the second-biggest R-rated movie in the US so far, 2016’s “Deadpool” isn’t an insider tip anymore. The superhero flick convinces with sass, wit and stylish action scenes. In Part 1 of our “Deadpool” Production Feature we talked with Mitch Bax about his work as a DIT on the main unit of “Deadpool”. Today we’ll take a closer look at how digital imaging technician Chris Bolton handled data and color on the second unit and how both units managed to visually match their looks right on set.

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Smooth Workflows for “Deadpool” – Part 1: Main Unit DIT Mitch Bax

Smooth Workflows for “Deadpool” – Part 1: Main Unit DIT Mitch Bax

The Hollywood blockbuster “Deadpool” was the surprise hit in theatres in 2016. What might have been just another superhero movie, turned out to be a witty and refreshingly ironic movie. As a stylish superhero movie, “Deadpool” comes in a distinct look, that required a smooth workflow for media and color. Mitch Bax, who worked as digital imaging technician on the Main Unit, revealed to us his way of handling data and color on set, using his notebook and both Silverstack and LiveGrade.

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6 Criteria for Storage On Set – The Right Storage for Your Shoot

6 Criteria for Storage On Set – The Right Storage for Your Shoot

We have recently been asked in support which storage on set solution we would recommend. This is a tricky question to answer remotely with only little knowledge of the production environment.

It made me think if we can somehow objectify this question and break it down to define general criteria for storage on set. Read my thoughts on this which finally end up with six criteria for storage on set you can use to make your very own choice.

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