Higher Ground: Film's RED/Avid Workflow Goes to the Next Level

Timing is often everything when it comes to indie filmmaking. That''s certainly the case with Higher Ground, the directorial debut of Academy Award-nominated actress Vera Farmiga (Up in the Air, Source Code, Nothing but the Truth). The film, about the struggle and coexistence between faith and doubt, is inspired by Carolyn S. Biggs'' memoir, This Dark World. It features Farmiga in the lead role of Corrine Walker and follows her through three phases of her life. The film has appeared at the 2011 Sundance, Tribeca and Los Angeles film festivals and is currently in distribution through Sony Pictures Classics.

Sean Mahon (Liam) and Vera Farmiga (Corinne Walker). Photo by Molly Hawkey

Successfully pulling off a highly regarded low-budget feature is a challenge for anyone, but even more so if you are both the director and the lead actress—and pregnant on top of that. Living in upstate New York, Farmiga happened to be ten minutes away from BCDF Pictures, a production company and facility built with the intent of facilitating indie feature film production. She decided to check them out as a possible production resource and quickly discovered a synergy that was ideal for Higher Ground. Although BCDF was prepping another film at the time, the decision was made to fast-track Higher Ground, in part to be able to film before Farmiga was too far along in her pregnancy. Within a couple of weeks, the film was in full production for a 28-day filming schedule during June 2010.

BCDF Pictures, situated in the upper Hudson River Valley, is a mash-up between summer camp and the old Hollywood studio system. The founders also created a film fund, Strategic Motion Ventures, to finance the pictures produced by BCDF. They own RED ONE MX camera packages, and the farmhouse-style facility is home to several edit suites and screening theaters, which makes it ideal for a filmmaking home base.

For Higher Ground, BCDF supplied two RED packages to director of photography Michael McDonough. They also worked out various tests prior to production that let the DP establish a number of in-camera looks for the three time periods in the story.

Hitting the Ground Running
Higher Ground editor Colleen Sharp wasn''t hired until three weeks after the start of production, so BCDF proceeded down a postproduction workflow path based on the assumption that the film would be edited using Apple Final Cut Pro, their primary in-house NLE platform. Head of postproduction Jeremy Newmark handled the one-light color correction for the RED camera dailies, transcoding them into ProRes QuickTime movies. By the time Sharp was on board, BCDF had already accumulated two and a half weeks of dailies in the ProRes format.

According to Sharp, “I''ve cut one other film using Final Cut, but I feel more comfortable with [Avid] Media Composer. I suggested it would be better if I could cut Higher Ground on an Avid, if possible, because I had to hit the ground running. Since I was starting three weeks after filming had begun, I needed to be as efficient as possible, and that would be on a system that I was most comfortable with.” Of course, this added the dilemma of whether or not to re-transcode the RED files into a format native to Avid.

Good timing once again played a role. Avid had just released Media Composer version 5.0, which enabled the direct use of ProRes files through AMA (Avid Media Access), as well as limited third-party hardware support for monitoring. In addition to Final Cut systems, BCDF owned an older Media Composer license. They were able to cost-effectively set up the Avid suite for Sharp by upgrading their older Avid software license and adding the Matrox MXO2 Mini for video output to the large screen in the edit suite.

Editor Colleen Sharp at Avid Media Composer workstation.

Newmark explains, “I was concerned about whether I''d need to take the existing dailies and convert them again to DNxHD media for Colleen. I talked it over with a friend at PostWorks in New York and it seemed like using AMA would be viable. We proceeded down the road of using the ProRes files in the Avid, and Colleen was able to cut the film entirely using linked AMA files. We never transcoded them into DNxHD and it worked well. Of course, at the beginning I still had the Plan B of converting everything again if the AMA idea didn''t work, but I wanted to avoid this as it would have cost us extra time. Even though we own a RED Rocket card for fast transcoding, the crew was using two cameras the entire time and often recording very long performance takes. In two and a half weeks, they''d already accumulated quite a large amount of footage.”

In the end, it worked better than expected for what was at that time a new software release. Higher Ground is likely the first feature film edited using strictly AMA-linked ProRes files. Thanks in part to the weak economy, the film company was able to secure off-hours packages for DI finishing in Los Angeles and sound editing and mixing at Sound One in New York.

Newmark continues, “I was able to send the colorist [Adam Hawkey] an EDL and the trimmed .r3d RED camera files, as well as the looks that I''d established with the DP. These were imported into an [Image Systems] Nucoda system, which read the files perfectly, including the looks presets. Adam told us this worked seamlessly and gave him a great starting point to work from in grading the film. Michael [McDonough] supervised the grading over a five-day stretch.”

Anticipating the Big Challenges
I asked Colleen Sharp about editing challenges on the film. “The biggest challenge I''d anticipated turned out not to be an issue at all. That was working with a first-time director, who was also the lead actor,” Sharp says. “Vera was great to work with. She was new to the entire editing process and intrigued by the possibilities. She was hands-on during the edit and very helpful.”

Boyd Holbrook (Teenage Ethan Miller) and Taissa Farmiga (Teenage Corrine Walker). Photo by Molly Hawkey

Naturally, whenever you have a lot of footage, the biggest challenge for the editor is wrestling with the sheer volume of material. Higher Ground shot about 14TB of RED footage, which translates into nearly 100 hours of raw material. Fortunately, the story progressed in a linear fashion through the three periods of Corinne''s life, with no parallel storylines or intercutting between different eras.

To help manage the content, assistant editor Peter Saguto organized the ProRes files at the Finder level into folders based on scenes. This made sense for a Final Cut edit, but when it came time to move to Media Composer, most of the structure could be carried into Avid via AMA. As a result, Saguto didn''t have to completely start his logging from scratch after the change of platforms.

In the end, the postproduction workflow proved to be very viable. Newmark says, “When we started this, a lot of the advice we received ended with ‘Good luck—no one has ever done this before.'' I was impressed with the stability of the Avid system, compared with the Final Cut system that was being used at the same time on the other film going through BCDF.”

BCDF intends to handle more films on the Avid system in the future. Newmark continues, “We always want to let the decision be made by the cinematographers and editors whenever possible. We own RED camera packages, but we''ve also shot films with ARRI Alexa and 35mm film depending on what''s the right approach for that film. I really think Avid is the best tool for feature film editing and I''m glad this experience worked so well. Of course, now when we have a RED show that we know will be cut on Media Composer, we transcode the RED media to DNxHD. Nevertheless, going ProRes on Higher Ground proved to be far more seamless than I would have expected.”