The Young Pope (Wildside)
The production generated more than 200 TB of R3D camera original and DNxHD 120 editorial footage over 24 weeks, at a mean rate of 1.7 TB per shooting day.
Production & Post
Sorrentino’s 10-episode series, The Young Pope, debuted at the Venice Film Festival before premiering on Sky Atlantic in Italy and making its way stateside via HBO. The project was produced by Wildside, co-produced by Haut et Court and MediaPro, and co-financed by Sky, HBO, and Canal+.
The Young Pope team needed to share material in a secure way and they wanted to be 100 percent confident in the quality and the look of the material they were sending abroad.
Post-production supervisor Franco Casellato said:
“For a director like Paolo, the needs and expectations remain the same when working on a feature film or on a series,” and added that “Creativity and style don’t change. On the other hand, post-production is discreetly more involved with the workflow setup, with the dailies management and sharing, with a long-term schedule and with simultaneous deliveries to several international broadcasters. All this has to be done without getting in the way of the creative process but moving in perfect sync with the project needs.”
The production generated more than 200 TB of R3D camera original and DNxHD 120 editorial footage over 24 weeks, at a mean rate of 1.7 TB per shooting day. Camera-original footage was saved and backed up to RAID on set, with a third copy loaded onto a SAN from which dailies processing would take place — and an LTO5 archival copy would be created.Dailies workflow for The Young Pope
Graded stills were sent to the DP for approval, while graded DNxHD 120 media files with AAF and ALE for Avid went to editorial, which created H.264 versions of the selects. For final color, the edit was conformed to the raw R3D files stored on the SAN in Autodesk Smoke. Grading and HDR balancing took place in Autodesk Lustre, with a final DPX render at 2K and 4K resolution before deliverables were created for broadcast.Final color workflow for The Young Pope
Rome post facility Margutta Digital International (MDI) supplied 3840×2160 16-bit linear ungraded DPX files to Double Negative in London for VFX work, and DNeg returned the same to MDI.
WCPMedia Services’ role
Wildside used WCPMedia Services’ cloud based collaboration platform, including a virtual screening room, to share media during production and post. Dailies were distributed via WCPMedia Services through Screening Room web application and delivery technology.
To optimize files for secure review WCP accommodated their video specs and color science into its workflows to deliver a result that was color accurate and consistent across the board.
The entire series was kept online during production and post — and even after the show was finished, in order to ensure all of the content remained available worldwide for PR and marketing purposes, including delivering trailers to potential buyers. WCPMedia was also used to deliver video and audio elements to dubbing and re-recording facilities across Europe and in Burbank, Santa Monica, and New York City.
Production media was stored at a Swiss data center with Tier IV certification, and all access was strictly tracked and controlled. The scope and final success of this collaboration propelled Wildiside in further adopting WCP for its following projects: