Half-Life: The Freeman Chronicles

We finished our long-running Half-Life series the Freeman Chronicles, and it quickly reached 300,000 views. The three episodes over their lifetime have amassed more than 10 million minutes watched, and about half of the viewers watched them in their entirety. The views are significant as a YouTube view is counted after 30 seconds of viewing.

Continue reading “Half-Life: The Freeman Chronicles”

Working with Dolby Laboratories and Blindspotting movie

Back at it with Dolby Laboratories! This time we had the privilege to shoot and edit an interview piece for the independent feature, Blindspotting, which premiered at this year’s Sundance film festival. It was granted the prestigious honor of the Dolby Atmos Family sound fellowship.

Continue reading “Working with Dolby Laboratories and Blindspotting movie”

2D Animation: Motion Comic

At Chariotdrive we have done several simple animations based on 2D artwork over the years.

This particular one was special as we moved away from Adobe After Effects and into Blackmagic Fusion.

It makes setting up the different elements in 3D space quite easy and thus allows a great deal of flexibility in the project.

Above is a screen recording of an artist working on a panel.  In this case there were 42 panels to be animated in some way or another.

Sonos and Apple Music Venture

Client: Sonos and Apple
Work Done: Post Production, Editorial, Motion Graphics, Color Grading.
Production Company: Weber Shandwick, Imaginaut Entertainment

Sonos and Apple Music

Or how to get 15,000 Hours of video Edited to 90 seconds in 3 weeks

In February, we had a whirlwind few weeks of post-production for the campaign, “Music Makes It Home.” A truly unique endeavor, the video was a result of a partnership between industry titans Apple and Sonos, this being the first time Apple has produced a joint campaign.

apple music

The result is a distillation of data gathered from an in-depth, international case study involving families from all over the world. You can read more about the study here, but here’s the skinny. Participating families were given Nest cams, iPhones, iBeacons, and Sonos speakers; and were monitored for two weeks. The first week, the families were deprived of all music; and the second week, music was encouraged through the use of the provided Sonos speakers.

Families were captured by the Nest cams and some also kept video diaries, and eight chosen families were visited by a professional crew in addition to the other methods of self-capture with the iPhones. The result was over 15,000 hours of footage, and this is where we came into play. Chariotdrive’s role was wrangling the footage captures and getting them edited down into a 2.5-minute video.  Under normal circumstances, this would have been fine, but this had to be done in 3 weeks.

The creative behind the project was Weber Shandwick, a PR agency out of Boston, and Imaginaut Entertainment handled production and teamed up with Chariotdrive and set up post-production at WeWork in downtown Los Angeles.

How we did it for Sonos and Apple Music

There were eight editors, each focused on four families. Each day pulling down the previous day’s nest camera footage and making selects.

Each editor laid down ten minutes of footage from the twelve hours recorded the previous day on the nest cams and iPhones. They laid down ten minutes of footage, cut that down into two minutes sections and then turned that into thirty seconds of super selects.

At the end of each day, the lead editor was able to dynamic link to all the sequences in his Adobe Premiere project and grab the parts that worked for the cut.

Metadata

In addition to the linking of projects, each editor injected a great deal of metadata relating to their edits so that it could be easily searched to pull useful clips and other editors grab clips they needed to create those great moments.

For example, if an editor wanted to create an edit with all the touching moments, he or she could literally type the words “touching moments” and view all the clips that contained such content.

The Setup

We set up ten edit systems comprised of Macs and PC’s.  We did not have the budget for a fast server, so I opted for local edits that automatically backed up to a Synology Diskstation.

The Disksation was 5x3TB in a RAID 5 config. The final result was a fun, immersive, energetic campaign that marked a successful meeting of the minds for all parties involved.

Drone and The Valley

[vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” css_animation=”” box_shadow_on_row=”no”][vc_column][vc_column_text]We shot this night time footage for a recent project with a DJI Mavic 2 Pro over the San Fernando Valley under lightly foggy conditions. Continue reading “Drone and The Valley”

Escape the Night Season 3 Post Production for YouTube Red

Earlier in the year, Chariotdrive finished the 3rd season of the YouTube Original Escape the Night Season Three.

It was fantastic working with Adam Lawson (Director, Writer, and Showrunner), Joey Graceffa (Creator and Star) and Adam Polanger (Post Production Supervisor) again this season.

Continue reading “Escape the Night Season 3 Post Production for YouTube Red”

World of Tanks

3 video launch series for the billion dollar mmo franchise by Wargaming.

The Freeman Chronicles: Episode 2

Work Done: Concept, Production, Editorial, Visual Effects, Color Grading.
Production Company: Chariotdrive
Director: Ian James Duncan

We are excited to share the teaser for the second episode of “The Freeman Chronicles“. It’s been a labor of love for us here at Chariotdrive and the next episode is due out before the end of the year.

If you are interested in seeing more, take a look at our behind the scene video below. Enjoy!

Behind the scene #1
Behind the scene #2
Behind the scene #3
the Freeman Chronicles

Post-production on Escape the Night Season 2 for YouTube Red

In March we began work on the second season of YouTube Red’s Escape the Night Season 2. We learned a lot the first time around working with YouTube Red and other partners, so season two presented new opportunities. After two seasons, I think we have some insight that’s worth sharing. I have broken the post into five sections:

Continue reading “Post-production on Escape the Night Season 2 for YouTube Red”

Live Stream: Hasbro, D&D

Work Done: MGFX, Production, Live Stream
Agency: Tripleclix
Client: Wizzards of the Coast, Hasbro

Chariotdrive was asked to produce and execute a live stream version of the Legendary and Hasbro web series Force Grey: Giant Hunters. This 6 camera event, recorded in front of a live audience was streamed to the internets from the marvelous Egyptian theater in Hollywood. Wizzards of the Coast began promoting the stream a few weeks before and had this to say on their blog.

website: http://dnd.wizards.com/articles/news/forcegrey_lostepisode

Smart Software Top 10

[vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” css_animation=”” box_shadow_on_row=”no”][vc_column][vc_column_text]We often wonder what productivity tools and software other creative types use.

Here’s our list:

Notes & Todo Lists: Workflowy OneNote

Communication: Telegram

Creative process: Realtime Board

Planning, projects, budgeting: Smartsheet Showbiz Budgeting

Project management: fTrack

Presentation: Realtime Board Google Docs InDesign

Writing: Fade In

Other software we’ve used: Trello Asana Jira Working on Rocketchat[/vc_column_text][/vc_column][/vc_row]

Tabletop

Work Done: Grading, Quality Control
Production Company: Legendary
Client: Geek & Sundry

Legendary Digital needed a fast and efficient color correction solution for the 20 episode season 4 run of the Geek & Sundry show. We delivered a series of looks and LUTs for all 20 episodes that were easily assimilated into their Adobe Premier work flow and allowed flexibility to make changes at any point in the seasons run.

Adobe MAX 2016

[dropcap]S[/dropcap]everal of the Chariotdrive team went to San Diego this November to immerse ourselves in the Adobe MAX creativity conference.  The trade show allowed us to connect with Adobe employees as well as get up to date on the latest tools and what is in the Adobe pipeline. Check out some of the great keynotes and creative speeches here. Along with these great keynotes Adobe released their state of create.  A global survey of the state of creativity today. Download it here.

14980734_10155371589646521_9163511032334926757_n

CSI Bank

Work Done: Match Moving, 3D Text, Color Grading.
Production Company: Front Runner films.
Client: CSI Bank

We handled the titles and color grading for this CSI Bank spot. Matchmoving for the 3D titles was particularly tricky as there were no markings.  We ended up pulling the 3D camera from the original RED 5k footage by reducing the exposure and tracking from detail captured on the white cyc.

Children of Eden

[vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” css_animation=”” box_shadow_on_row=”no”][vc_column][vc_column_text]Work Done: Visual Effects, Color Grading.
Production Company: DOUBLE A Productions
Client: JOEY GRACEFFA

We did some interesting 2D, 3D composites and grading on this short film created to coincide with the release of Joey Graceffa’s best selling young adult novel “Children of Eden”. Our VFX designers did some interesting shots including a 3D eye replacement, holographic user interface and fast world reveal.

[/vc_column_text][/vc_column][/vc_row]

Escape the Night Series 1 Post Production; A YouTube Red Original.

Work Done: Production, Editing, Visual Effects, Color Grading. Client: Brian Graden Media, YouTube Red Format: UHD/4k & DD5.1

Escape the Night Series 1 was a thirteen-episode series and comprised of over 300 minutes of editorial material from a six-camera multi cam shoot. We managed the capture of the 4K footage, supervised on set VFX, styled and created motion graphics, created hundreds of visual effects and color graded the look of the show.

Pre-production & Planning

escape-the-night
escape-the-night

Chariotdrive broke down the scripts for all ten episodes of Escape the Night into VFX lists and put a comprehensive budget together followed by a schedule for post-production and visual effects.

We worked closely with the Executive producers, showrunner, Director and Producers to provide creative planning and support for pre-visualization of complex VFX sequences and design and planning of motion graphics that were consistent throughout the series.

Post planning and project management were done using Ftrack, which allows a waterfall style gaant project management as well as agile task management and planning.

Preparation & Onset Ingest

escape-the-night

Chariotdrive outlined media needs and oversaw media management and ingest on set. We provided VFX supervision, taking thousands of photos and numerous measurements.

Editors put key scenes and sequences together on set to make sure the production had exactly what it needed before it moved on to the next scene.

Escape the Night Editorial

escape the night

Visual effects for the show were primarily done in After Effects. Some 3D elements were created in MAYA and some compositing was done in NUKE.

There were over 800 individual effects throughout the 10 episodes. Motion graphics were built in Photoshop and After Effects.

Effects include animated sequences, on-screen titles, rotoing fixes (crew members in shots, non-1930’s fixtures, etc), 2D composites, particles, 3D CGI, background replacements, smoke, fire, gunfire, blood hits and more.

Effects time for each episode ranged from 1-2 weeks so it was an insane schedule to get sometimes more than 150 effects shots completed with never more than 2 or 3 artists.

Visual Effects

Escape the Night

Visual effects were primarily done in After Effects. Some 3D elements were created in MAYA and some compositing was done in NUKE.

There were over 800 individual effects throughout the 10 episodes. Motion graphics were built in Photoshop and After Effects.

Escape the Night

Effects include animated sequences, on-screen titles, rotoing fixes (crew members in shots, non-1930’s fixtures, etc), 2D composites, particles, 3D CGI, background replacements, smoke, fire, gunfire, blood hits and more.

Effects time for each episode ranged from 1-2 weeks so it was an insane schedule to get sometimes more than 150 effects shots completed with never more than 2 or 3 artists.

Some of the effects can be seen in our reel below.

Color Correction & Grade

Escape the Night

Color correction for Escape the Night was done partly in Resolve and partly in Premiere using the Lumetri engine and Colorista.

Grading and the look of the show were pushed to a slight pink overall (which host Joey Graceffa loved) and the levels brought way up to account for the majority viewership being on phones or mobile computers.

Each episode had a cinematic intro and these were graded more cinematically and stylistically which elevated the look of the show overall.

Dolby VR

Work Done: Creative, Production, Editing, Grading.
Production Company: Chariotdrive
Client: Dolby Laboratories

 

Right before Sundance, we started working on a series of videos for the Dolby Institute’s Sound Fellowship. We’ve interviewed filmmakers who’ve been granted the fellowship and spoken with them on independent filmmaking and how partnering with Dolby has influenced their films.

Our first video was for “Perspective Chapter 2: The Misdemeanor”, which premiered at this year’s Sundance Film Festival in the New Frontier venue.  New Frontier is known for showcasing the latest in filmmaking technology and innovations, and 2016 was all about VR.

“Perspective Chapter 2” is the first VR film mixed in Atmos. The Atmos mix was the final touch, bringing the viewer as close as possible to total immersion in the film (actually: it’s four films, each filmed from a different perspective, so the viewer has a different experience dependent on which experience they choose).

Some interviews were shot at the Dolby Institute in LA the week before the film went to the festival, and the remainder were shot at the Specular Theory offices, also in LA, after the festival. Of all the videos in this series, this is the only one with Ceri Thomas, one of the pioneering engineers behind the Dolby’s Atmos technology.

Our next video for the Dolby Institute releases in June, concurrent with the theatrical release of the film it features. Hint: another much-buzzed about Sundance premiere, with mixed audience reactions, and the dynamic directing duo that took home one of the top awards…

[no_button text=”Read more” link=”https://www.dolby.com/us/en/dolby-institute/perspectives-2.html” target=”_self” ]