The workflow for Cavemen was pretty straightforward. While recording in ArriRaw to Codex, we simultaneously recorded to SxS cards in ProRes 4:2:2 (HQ), which went straight into Adobe Premiere. We stored all of our digital assets on G-Speed eS Pros. Post supervisor Sin Cohen came onto the project shortly after we got underway, pulling us out of the data hole we had begun to sink into. Ryan Bozajian supervised the visual effects and also served as our dailies colorist.
Ryan’s plan was to pre-grade the picture in Adobe Speed Grade using a conventional monitor. He worked with me to set up the overall look, creating any complex windows, and then collaborated with colorist Chris Martin at Spy, adding final touches for a 2K finish while viewing the images projected in the grading suite. Using an XML workflow, we could seamlessly move between different post applications. This allowed us to take our time with aesthetic decisions and spend the expensive final grading session refining and polishing the look.
It’s really tough out there today for independent filmmakers, who work for modest fees but show extreme dedication. Chances are slim that an independent film will find theatrical distribution, and I’m proud to report that Cavemen was one of the lucky ones. After premiering at the Austin Film Festival last fall, the movie was bought by Well Go USA, which will release it in theaters Feb. 7.