Due to the nature of how the 4K data was captured on the shoot there is a slightly different post production workflow than if you were using a HD DSLR like the Canon 5D Mark II. In order to edit with the 4K files on standard editing software like Final Cut Pro or Adobe Premier Pro, the RAW files must first be transferred to LTO (Linear Tape-Open, often used for archiving) tapes and debayered (processed) into a high quality usable format like Pro Res MOV's. These files can then be used to edit the film, in what is referred to as an ‘offline edit’. In this instance Clive worked with his editor Tristram Edwards over a period of a couple of weeks making selects and cutting the piece.
Once the offline edit was completed, Tristram created EDL (Edit Decision List) and XML (Extensible Markup Language) files, which identifies which clips were used and the timecodes from each shot. Codex were then able to use these files as a guide as to which sequences needed to be debayered (processed) ready for grading. Nice Biscuits (a visual effects (VFX) and Post Production House) were then able to use the EDL and XML files to conform the footage, which colourist Martin Southworth was able to grade on ‘Da Vicini Resolve’ system. Following this Clive worked with Russ Shaw to complete the online edit and add any video effects (VFX). “Russ and I spent a couple of days on the ‘Autodesk Flame Suite’ going through every cut refining and finalising the film for output.” Clive recalls.
At this point Nice Biscuits were able to add the final audio mix provided by Tim Lofts, who had mixed the voiceover recording from Angel Studios and music provided by Stu Sibley. Once the final audio was added to the film Russ exported 2 versions of the file; one 4K and one Full HD.