Online Edit/Conform, 2D VFX/Cleanup, Titles, Post Pipeline Design
(2008-2011)
Shortly after season five started, Derek joined the House team, working closely with the show's post producers and colorist to streamline the post production pipeline, updating the linear assembly and in-house visual effects chain and replacing these with a hi-speed non-linear process that integrated a complete conform directly into a powerful compositing system.
"Completing much of the compositing cleanup work directly in the conform box saved a lot of time, hassle and expense - it just makes sense for this kind of fx-heavy show, where we are integrating so many elements from out-of-house as well."
For season six, Derek collaborated with colorist Eric Johannessen to move the show into a DPX-based tapeless workflow, and replaced the linear titling method with a new digital process that was both faster and simpler.
"Co-Producer Allen Palmer was passionate about moving the show forward technically, and we worked hard to deliver that for him. He was always interested in new technology, but made sure the show maintained a very high quality bar."
Derek created a new tapeless visual effects workflow for season seven requiring the cooperation of two rival Hollywood post production facilities. Working with the engineering team, he implemented a new file name metadata convention and secure internet file transfers directly onto his media storage system which accelerated the drop-in process dramatically while reducing the chance of errors and eliminating copying files to drives. The "House" television workflow from this season set a new high standard for speed, efficiency and reliability.
(2008-2011)
Shortly after season five started, Derek joined the House team, working closely with the show's post producers and colorist to streamline the post production pipeline, updating the linear assembly and in-house visual effects chain and replacing these with a hi-speed non-linear process that integrated a complete conform directly into a powerful compositing system.
"Completing much of the compositing cleanup work directly in the conform box saved a lot of time, hassle and expense - it just makes sense for this kind of fx-heavy show, where we are integrating so many elements from out-of-house as well."
For season six, Derek collaborated with colorist Eric Johannessen to move the show into a DPX-based tapeless workflow, and replaced the linear titling method with a new digital process that was both faster and simpler.
"Co-Producer Allen Palmer was passionate about moving the show forward technically, and we worked hard to deliver that for him. He was always interested in new technology, but made sure the show maintained a very high quality bar."
Derek created a new tapeless visual effects workflow for season seven requiring the cooperation of two rival Hollywood post production facilities. Working with the engineering team, he implemented a new file name metadata convention and secure internet file transfers directly onto his media storage system which accelerated the drop-in process dramatically while reducing the chance of errors and eliminating copying files to drives. The "House" television workflow from this season set a new high standard for speed, efficiency and reliability.