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Josh Petok

Online Editor and Colorist, Josh Petok talks about the deliverables process with Cinedeck and cineXtools Since 2004, Josh Petok has been a colorist and online editor for a wide range of scripted and non-scripted shows. His credits include shows for CBS, Fox, MTV, CNBC, CMT, Bravo, VH1, Syfy, GSN, E!, Lifetime and Discovery Kids. Josh also has a regular podcast called “Colorists Podcast” where he interviews top colorists and spreads the word that colorists are an essential part of the post-production process. “I first heard about Cinedeck from a fellow online editor and was initially interested in its insert edit capability,” says Josh. “Being able to insert-edit to files is enormous for the deliverables process. Using Cinedeck means I can pick and choose segments to replace instead of re-exporting the entire file.” Josh first had the chance to work with Cinedeck doing online work for 51Minds Entertainment, creators of some of the most entertaining ‘celebreality’ programming and also part of the Endemol/Shine Group. With a baseband SDI infrastructure in place, 51Minds set up a Cinedeck in place of a VTR. Josh notes that it was an easy transition for him. “I like that the Cinedeck connects and behaves just like a tapedeck. We run our layoffs through a hardware legalizer and haven’t had to change our standard deliverables workflow by using Cinedeck.” Many of 51Minds’ shows use Cinedeck’s VMM (Virtual Mastering Media) workflow for layoffs. Because each episode’s duration is known, 51Minds keeps a library of blacked files created for each program on their ISIS. When a show is ready for lay-off, the VMM for that show is copied and loaded on the Cinedeck. The Cinedeck automatically picks up the presets from the blacked file, limiting the chance for mistakes to be made in the settings. However, Josh notes, “The best part of the VMM workflow is that I can do the QC watchdown while the show is being output. Jog, shuttle, its all there and if there’s an issue, we can simply insert the changes.” “Also, Cinedeck is one of the only hardware devices that can encode ProRes and has all the deck control features that make it easy to use in a post-production environment. Being able to create a ProRes file that is acceptable to major broadcasters without going through compressor or some other software is a big deal for many of the shows that I work on,” says Josh. Josh is also a cineXtools user and shared his enthusiasm about a newly released feature. “I really love the new multi-clip insert editor in cineXtools. You drag the show master into one window and multiple fixes into the other. cineXtools lines up all the inserts and notates the in points for each patch. It’s way faster than real-time and a much simpler process when compared to tape.” As with most post workflows, Josh explains that no show is ever truly “locked” and Cinedeck is a real life-saver as a result. “Shows are in a constant state of flux, but the deadlines stay the same. Being able to insert-edit corrections is an essential tool – It eliminates those dreaded 4AM file re-export sessions. I hand the file over to an AE and they insert the fixes. And, Cinedeck and cineXtools are both straightforward and simple to use.” “Using Cinedeck for our deliverables workflow means we have more time and can concentrate on the creative work rather than being distracted with fixes and putting out fires,” Josh concludes. “Our Industry needs Cinedeck and File-based Insert Edit. Budgets are shrinking; so the possibility of eliminating tape altogether means we can save thousands of dollars on just tapestock each season.” Shows delivered with Cinedeck include, “Broken Skull Ranch” CMT; “Below Deck” Bravo; “Follow the Rules” MTV.