FilmWorkers Club Posts Garth Brooks Special for GAC

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NASHVILLE—It took an almost round the clock effort, but Filmworkers Club made sure that Garth Brooks did not disappoint his millions of fans. The Nashville studio handled virtually all of the post production work for Garth: One Artist One City, One Night, a 90-minute music special that aired recently on Great American Country (GAC). It was Garth Brooks’ first televised concert since 2001. The special was recorded in HD video on the final night of a nine-concert series at a sold-out Sprint Center in Kansas City. The concert occurred on a Friday, with the GAC broadcast scheduled to air exactly one week later. Filmworkers Club, therefore, faced a delivery schedule that required it to complete all of the post work and deliver a polished, 90-minute master in just four days. The studio’s first task was to load the massive amount of source material gathered by director Jon Small’s camera crews onto its server. As Small used some 15 cameras to shoot the 2-hour concert, that amounted to more than 250 hours of HD media.

Filmworkers Club’s Adam Little then set to work in preparing an off-line cut. Because of the tight deadline, the editorial process had to begin even before a final decision was made about which songs were going to be included and in what order. Little used a line cut that was done during the live recording as the starting point for his cut. “We started with the songs that were sure bets, knowing that later we could rearrange them or scope them down if needed,� recalled Little. “If there was a camera shot that we needed a close-up, for example, we would add that and otherwise clean up the line cut.� As Little finished sequences, the work passed on to Quantel eQ artist John Slinger who began assembling them into conformed acts. As each act was put into its final edited form, Slinger, in turn, passed them to colorist Rodney Williams for final color correction via Filmworkers Club’s Da Vinci 2K Plus color corrector. “On Sunday morning, as John was working on acts four, five and six, I began color correcting acts one, two and three,� said Williams. “By Monday, John had finished all of the acts and I went through the final color correct that afternoon. By Tuesday morning, everything was done. The show was timed out and approved with the graphics and final credits. All we had to do was to make copies and ship them to the network.� Although GAC broadcasts in standard def, all of the post work was done in HD to facilitate a possible future DVD release. “The HD, obviously, takes up a lot more data, and requires more time for rendering, and that complicated the logistics of getting it out the door on time,� noted Williams. Along with the hurdles posed by the deadline, the project also posed numerous creative challenges, one of which was retaining the intensity and spontaneity of Brooks’ performance while fitting it into the rigid structure of a television special. “It’s a concert, and when Garth is on stage, he is performing; he’s not thinking about how it will fit into a TV show,� noted Slinger. “So one of the biggest challenges is getting it timed out, with the best songs in the best order, and with all of the commercial breaks in place. It’s tough to get it perfect.� Williams used his color correction tools to give the special a magical look.�We went with intense, bright, saturated colors and heavy contrast, a very poppy look,� Williams said. “There was a huge light show and lots of smoke, and that resulted in a lot of variance between the different cameras, some of which were on stage while others were 100 yards away on cranes. Some cameras were looking through more smoke than others, so some shots were more washed out. The main thing was to keep the contrast built into those shots to maintain a uniform, vibrant look.� “In many cases audience shots would have a different light source and color temperature than shots on the stage,� Williams added. “If you cut from the stage, lit with warm lighting, to an audience shot with a blueish cast, it could be abtupt and we’d have to make a smoother transition. We’d make the audience a bit warmer to match the performance.� For the four days of post production, Filmworkers Club devoted virtually all of its staff and resources to the show, and thanks to some 14-hour work days, managed to complete it with nearly half a day to spare. “We were in our ‘Minuteman’ mode,’� noted Williams. “Everyone was prepared to work around the clock if we hit a snag. Everyone in the facility was on stand-by in case we needed back up, or another artist to step in and take over. A lot of facilities would have had trouble getting this done, especially with the render time required for HD, but not us. This is our forte.� The Filmworkers Club is located at 1006 17th Avenue, Nashville, Tennessee 37212. For more information, contact Anne Popper at (615) 322-9337 or visit




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