In the just published second installment of a series of Sponsored Entertainment & Advertising Technology features, SHOOT delves into how workflows are shifting, often in profound ways that are truly bringing the advantages of digital tools and technologies to TV, film, commercials, and many other areas of media and entertainment. In this feature, SHOOT spotlights four pioneering companies--including EC3--exploring how they have found ways to build workflows that enable flexibility, speed and creativity.

The feature titled “Surveying New Workflows: Expanding The Power And Creativity Of Production & Post” was published on January 30, 2015 across SHOOT’s digital and print platforms including SHOOT Magazine, SHOOTonline and The SHOOT>e.dition. EC3’s Marc Ross, production manager, was interviewed for the article.

An excerpt from the SHOOT feature about EC3...

Partnerships are key in this digital era, and EC3 is the fruit of one between Deluxe sister companies EFILM and Company 3, two of Hollywood’s top DI facilities. EC3 combines the creative and technical expertise of EFILM and Company 3, and brings those skills on location in the form of a mobile studio that provides color correction, on location dailies (deliverables include iPad dailies and editorial media on the same day), data management and security, 3D stereoscopic capabilities including convergence, instant quality control of footage, and 24/7 engineering and tech support.

“Both EFILM and Company 3 had been doing on-location dailies independently for several years,” says EC3 production manager Marc Ross. He notes that the first on-location digital dailies took place with some of the first RED camera productions, for an all-digital workflow; EFILM provided digital dailies for an ARRI Alexa workflow back in 2011 for The Avengers.

The synergies of putting these two powerhouse DI companies together has been a winning combination. “Both companies have strong experiences with approaches to color,” he says. “Both also keep the director and cinematographer’s interests paramount in bringing their color choices through the workflow.” Color correction on location can be as simple as a one-light to a full-blown DI with windows and keys. “A lot of clients have that expectation for their dailies,” says Ross. “The great advantage is that the cinematographer gets to dive into the images to whatever degree he wants during dailies, so he’s very familiar with it by the DI. Then, it’s a creative choice. The DI can just be a refinement, or the cinematographer and director can go another direction.”

Stereoscopic 3D dailies are another specialty of the blended EC3. Company 3 did stereo dailies, using Assimilate Scratch, for Pirates of the Caribbean: On Stranger Tides, a 2011 release. “Those were also done on location in Hawaii,” notes Ross, who notes that Stereo 3D dailies are again very popular. Now, however, EC3 offers Stereo 3D dailies with higher resolution and higher frame rates. “You’re dealing with more data and more involved transcoding down the line for editorial and studio deliveries,” he says. “We’re a central repository, to manage not just color but the assets.”

EFILM was involved with the development of the previs tool Colorstream, which was first used on Apocalypto, allowing cinematographer Dean Semler to review the output of the camera on set.

Colorstream is now a shared EC3 resource and available to all its clients. EC3 also carries eVue™, a calibrated dailies viewing player that can be plugged into a 50-inch plasma display, a digital projector or even an iPad.

EC3 offers a wide spectrum of choices for on-location dailies, scaled up or down, depending on the needs of the production. “People really like on-location dailies,” says Ross. “They like the advantages, and they’re getting used to doing them. They know the questions to ask, and how to plan a space for the gear.”

Location services for feature films not only includes iPad dailies and editorial media on the same day  — and the rest of EC3’s on location offerings – but also 2K, HD and 3D projection. When Lone Survivor was on location in the remote wilds of New Mexico in 2012, EC3 partnered with Star Waggons, which moved the trailer out to a ski base camp. “That’s the most out-of-the-way location where we’ve set up digital dailies,” he says. “It was full-on digital dailies, which allowed the DP and director the ability to see footage projected while they’re on location in the middle of nowhere.”

► Click Here to read the online version of the article.
► Click Here to view article in the PDF version of the January 30, 2015 of SHOOT Magazine (click on first issue at top of page)
► Click Here to view/download PDF version of just the article.
► Click Here to request information on the next SHOOT Entertainment and Advertising Technology sponsored feature. Sponsorship includes participation in feature article plus digital/print advertising & promotion. The next feature, 4K & Beyond, will be published on March 20, 2015.

About EC3
EC3 combines the creative and technical expertise of two of the industry’s most respected post production houses - EFILM and Company 3. EC3 brings our skills straight to your location, saving time, money and providing greater creative flexibility.  From transcoding to dailies color correction, EC3 is unlike any other on location system. Imagine a true mobile studio that perfectly mirrors the equipment and calibration our artists use at Company 3 and EFILM.

EC3 Location Services include:
→  On Location Dailies Deliverables including iPad® dailies and editorial media on the same day
→  Color Correction
→  Instant Quality Control of your footage
→  2K/HD/3D projection
→  Complete 3D Capabilities including Convergence
→  Data Management and Security
→  Complete Engineering and Tech Support 24/7

About SHOOT Magazine / SHOOTonline
SHOOT® Magazine and SHOOTonline® are the leading publication and website for commercial and entertainment production & postproduction; edited for agency, movie & studio creative and production executives, executives at commercial and entertainment production/post companies, TV/Online/Mobile networks, brand marketer production executives, independent filmmakers and artisans including directors, cinematographers, editors, colorists, vfx supervisors/artists/animators, composers, sound designers & mixers. Through its “News” and “ScreenWork” sections, “Columns” and in-depth “Features”, SHOOT publishes timely news, relevant information and a behind-the-scenes look at the best new work and profiles/interviews with industry news makers. In addition, SHOOT reports on the latest cinematography, post & editing technology and equipment. If the work involves advertising and entertainment motion picture content that consumers view on a screen---a TV screen, Cinema screen, Computer screen, Mobile screen or Game screen, SHOOT is searching out who’s doing the most innovative work and what’s coming next. For further information please visit®

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