Last Cowboy Standing: Vignette

It’s sort of hard for me to talk about this project… I was the principle editor, and post sup, and after a year of Production the show was taken away. It wasn’t a reflection on my team, just a mixed bag of middle management not being able to meet their own expectations. It is what it is, here is my favorite 3 minutes from the 8 hours of finished content we created.

Directed - Pam Mariani

Produced - Corey Kelley

DP - Brent Buntyn

Cam - Brenan Towle

Story Edit - Pam Mariani / Brett Ramker

Online Edit / Color - Brett Ramker

Clash Endurance: All Access

StringOut - Directed | Edit | Grade | Deliver

Post Audio - Matt Victory

Story Editor - Jeremy Wallace

As Seen on Fox Sports 1 (FS1), CLASH Endurance Watkins Glen: All Access is a love letter to the way triathlon used to be - fun. This show features the athletes, their stories and passion for endurance sports. We tour the beautiful hills of Watkins Glen, get to know professional triathletes and age groupers beyond their race data, and compete where legends have raced, at The Glen.

Red Bull Unserious Race

Unserious Race Vegas - Recap

The Unserious Race series is a text book example of challenging quick turnaround workflow. For these jobs we turn around 15 camera edits in 30 hours or less. I function as the Post Sup and Online Editor, typically I cut the racing action and then combine the segments from the other editors and maintain the master timeline.

I structured the project as an Adobe Premiere Production for collaboration. We had 3 Editors working on the YouTube asset, a social news cut, and a social team all working from the same shared storage and project.

Inside the Production, I structured all the content into 3 main, multi-cam stringouts. Two POV multi-cams of GoPros including GoPro Max 360 cams, and a story cam stringout that for all the Sony story cams, and the two drones. Our camera department worked really hard to make sure all the cameras had time code, and were reel indexed correctly so laying these out was pretty straightforward.

One of the things I was most excited about with this workflow was manipulating the audio inside the multi-cam sources. If you’re familiar with this work, you know that changing the audio after they’re built can be fraught. But having tons of redundant tracks not only makes the timeline cluttered, but it’s also confusing to the post team. On this job, we had all the characters and hover crafts wearing Tentacle Track E recorders recording 32bit Float audio. The characters also had wires, and Senna Comms in the helmets. What I did was remove all the redundant audio, and used the 32 bit float sources as the primary mics. This left the story cam stringout with only 9 or so audio channels.

In Vegas we added an additional element.. Audio Mastering and Color Grading via a remote session at Red Bull Media House HQ in Austria. For us, that meant a 2am deadline for a picture locked up that had gone into post just 18 hours prior SHESH.

Below you can see the progression of the main timeline from a pictures only line cut of the action, to the first assembly, cleaned timeline to send to Post Audio / Color and the final master timeline for delivery.

Unserious Race - Miami

StringOut - DIT / Post Production Supervisor / Race Story Editor

Best In Class

This documentary chronicles a premiere celebration, which is a motor week unlike any other, filled with grandeur and elegance featuring some of the rarest and most prestigious cars in the world. The Audrain Automobile Museum partnered with Torque Media Group to produce this account of the inaugural Audrain Newport Concours & Motor Week, a world-class event bringing the best of the motoring world to a global audience. The documentary captures the highs and lows of competition, the people and passions that drive the pursuit of excellence, and the bonds that unite car lovers around the world.

IMDB

StringOut - Production | WorkFlow | Online Edit | Grade & Delivery

Michelin // The Road To Le Mans

Follow the Core Autosport Factory Porsche program in their GTE Pro Le Mans debut. The American team has a storied history in the IMSA Championship, but has never competed in the French endurance classic. This edit was produced on the ground at Le Mans in France. I brought in an edit system to quick-turn the edit for delivery the day after the race.

Produced/Directed - Amanda Jeanette

DP - Jordan Miller

Edit/Color - Brett Ramker

Sights X Sounds | 2018 Twelve Hours of Sebring

The 36 Hours of Florida are over, and I'm pretty sure my crew is still recovering. The 36 hours is how we refer to the The Rolex 24 at Daytona, followed by The Mobil 1 12 Hours of Sebring, these are the two events that kick off the IMSA Endurance Racing season. The 12 Hours of Sebring has always been my favorite events to shoot. Its an incredible environment and race. The track is historic, it was a WW2 Bomber test site, and sometime over 60 years ago was converted to a race track. Its never been repaved, #RESPECTTHEBUMPS, and is one of many reasons that this race is daunting. Teams come from all over the world to try and win this race. 

From a coverage standpoint, this race is very challenging. Its a huge track with tons of actions areas, and in the current trend of Sports Car Racing enduros are run like sprint races. Ask anyone covering these events, the 12 Hours is no question harder to cover than the Rolex 24. My day started around 5:30am Saturday, and we rolled out of the compound after strike at 1:30am Sunday morning. 

Having said all that, I wouldn't have it any other way. I love this event, this series, and shooting racing. I've been in post for the last 9 days cutting our main feature, Sights X Sounds. Its a cinematic race recap that I created when I started working on IMSA's content. As much as I love documenting this race, what a nightmare this edit is. 12 Hours of racing, 14 Hours of coverage, and right around 12 hours of art footage between myself, and my three cam ops. 

At the end of the day its all about the work, and I couldn't be prouder of how this project turned out. Shout out to an amazing crew that makes these videos possible. 

-Brett 

Director - Brett Ramker

Producer - Jason Jacobson 

Editor - Brett Ramker

Camera - Brett Ramker - C300MKii

               Zach Whiteside - C300 MKii

               Rob Russell - RED Scarlet Dragon

               Jeromy Hogue - Phantom MIRO LC320s