PRE-PRODUCTION

The Native Son post solution started during pre-production. The film was produced with A24 so Irving Harvey worked with the production team to make sure that all of A24’s delivery requirements were planned for. We worked out the data flow plan including hard drive selections and plans for getting data from on set in Cleveland to our New York facility.

Production

During production, we chiefly liaised with DIT Paul Schillens to coordinate media and shoot information. We received runner drives from production every few days and consolidated the media to master and backup drives. Once media was consolidated watermarked dailies with on-set color adjustments applied and audio synced were generated for production to review and offline editorial files were generated and sent to SeeThink so editorial could begin working with the footage.

OFFLINE EDITORIAL

Before offline editorial started under the supervision of director Rashid Johnson, Irving Harvey worked with Johnson’s studio to design and implement a workstation setup there for Turner and assistant editor Jeffrey Star.

During the edit, Gursky remained in contact with the editorial team and production to facilitate any additional needs that arose. We prepped and delivered online VFX sends to VFXdaily during the edit as well as were needed.

ONLINE

Once picture lock was reached, we onlined the film to the Arriraw source media. We generated reels and delivered color prep to Company 3 as well as all remaining VFX prep to VFXdaily. When color, VFX, and sound were completed we compiled all delivery assets into a final timeline and generated screeners for final QC in our screening room.

DELIVERY

After the film was approved by the director and producers we generated the DCP and supplemental screening materials for the film’s premiere at Sundance. At this point there was limited time before the premiere so we leveraged our infrastructure to accelerate renders and allow for a final DCP QC. We delivered the materials to Sundance and the premiere was a success.

There were some remaining VFX and color changes to make after the premiere, so we facilitated another round of final conform and QC. With the film completed we handled delivery of all assets to A24 including final masters, final DCP, non-graded archival master, and all media archived to LTO-7. Finally, Irving Harvey remains the lab for the project and is responsible for retaining the film’s assets for the duration of the contract.