Why Apple Pro Technologies?
Mobile Lab's main workstation contains the maximum configuration of processors, ram, SSD's and graphics boards in Apple's new, hyperfast Mac Pro, also fitted with the added Afterburner - a card defined as a "Game-Changing Accelerator". This monster machine can process contemporarily 6 streams of ProRes 8K RAW or 23 streams of ProRes 4K RAW.
The ability to grade native 8K is even more critical than editing it.
Mobile Digital Lab also sports two of Apple's brilliant new 1000 nits. 32" displays - the 6k XDR's, which can also display HDR. In the words of Jarred Land, president Red Digital Cinema "Apple’s new hardware brings a mind‐blowing level of performance to proxy‐free r3d workflows".
Grant Petty, CEO of Blackmagic Design adds;
"With the new Mac Pro and Afterburner, we see full‐quality 8K performance in real-time with colour correction and effects, something we could never dream of doing before. DaVinci Resolve running on the new Mac Pro is easily the fastest way to edit, grade, and finish movies and TV shows.”
"In my modest opinion, I can say that I bought my first Mac more than 40 years ago, and I've always preferred them to other operating systems, thanks to their ease of use and reliability; now that the new powerful multi-processor pro workstations have become extremely powerful workhorses, and offer the flexibility of numerous card slots, its a no - brainer". (co-founder David Bush)
Why Apple Pro Technologies?
Mobile Lab's main workstation contains the maximum configuration of processors, ram, SSD's and graphics boards in Apple's new, hyperfast Mac Pro, also fitted with the added Afterburner - a card defined as a "Game-Changing Accelerator". This monster machine can process contemporarily 6 streams of ProRes 8K RAW or 23 streams of ProRes 4K RAW.
The ability to grade native 8K is even more critical than editing it.
Mobile Digital Lab also sports two of Apple's brilliant new 1000 nits. 32" displays - the 6k XDR's, which can also display HDR. In the words of Jarred Land, president Red Digital Cinema "Apple’s new hardware brings a mind‐blowing level of performance to proxy‐free r3d workflows".
Grant Petty, CEO of Blackmagic Design adds;
"With the new Mac Pro and Afterburner, we see full‐quality 8K performance in real-time with colour correction and effects, something we could never dream of doing before. DaVinci Resolve running on the new Mac Pro is easily the fastest way to edit, grade, and finish movies and TV shows.”
"In my modest opinion, I can say that I bought my first Mac more than 40 years ago, and I've always preferred them to other operating systems, thanks to their ease of use and reliability; now that the new powerful multi-processor pro workstations have become extremely powerful workhorses, and offer the flexibility of numerous card slots, its a no - brainer". (co-founder David Bush)
Why Apple Pro Technologies?
Mobile Lab's main workstation contains the maximum configuration of processors, ram, SSD's and graphics boards in Apple's new, hyperfast Mac Pro, also fitted with the added Afterburner - a card defined as a "Game-Changing Accelerator". This monster machine can process contemporarily 6 streams of ProRes 8K RAW or 23 streams of ProRes 4K RAW.
The ability to grade native 8K is even more critical than editing it.
Mobile Digital Lab also sports two of Apple's brilliant new 1000 nits. 32" displays - the 6k XDR's, which can also display HDR. In the words of Jarred Land, president Red Digital Cinema "Apple’s new hardware brings a mind‐blowing level of performance to proxy‐free r3d workflows".
Grant Petty, CEO of Blackmagic Design adds;
"With the new Mac Pro and Afterburner, we see full‐quality 8K performance in real-time with colour correction and effects, something we could never dream of doing before. DaVinci Resolve running on the new Mac Pro is easily the fastest way to edit, grade, and finish movies and TV shows.”
"In my modest opinion, I can say that I bought my first Mac more than 40 years ago, and I've always preferred them to other operating systems, thanks to their ease of use and reliability; now that the new powerful multi-processor pro workstations have become extremely powerful workhorses, and offer the flexibility of numerous card slots, its a no - brainer". (co-founder David Bush)
David Bush & Mike Connor present a cutting edge editing, colour grading and DIT unit created by them & based on their wish lists for post-production after decades of production and post-production experience.
The system is placed on or near set and is designed to save time & money for producers while offering exceptional quality for advertising, documentary, film & television production and post.
The core of the system is an extremely powerful workstation based on a fully optioned Apple Mac Pro with Da Vinci Resolve software & hardware. The combination avoids the need to use the traditional off-line (or with proxies) workflow, then re-conforming on-line, and the time required for this.
With the Mobile Lab, it is now possible to work with a full high-resolution deliverable or master in HD, 2k, 4k, or 8k from the first day of shooting.
The Mobile Lab is both a lightning-fast DIT workstation and creative editorial, colour grading and audio editing hub - all within a single system.
David Bush & Mike Connor present a cutting edge editing, colour grading and DIT unit created by them & based on their wish lists for post-production after decades of production and post-production experience.
The system is placed on or near set and is designed to save time & money for producers while offering exceptional quality for advertising, documentary, film & television production and post.
The core of the system is an extremely powerful workstation based on a fully optioned Apple Mac Pro with Da Vinci Resolve software & hardware. The combination avoids the need to use the traditional off-line (or with proxies) workflow, then re-conforming on-line, and the time required for this.
With the Mobile Lab, it is now possible to work with a full high-resolution deliverable or master in HD, 2k, 4k, or 8k from the first day of shooting.
The Mobile Lab is both a lightning-fast DIT workstation and creative editorial, colour grading and audio editing hub - all within a single system.
David Bush & Mike Connor present a cutting edge editing, colour grading and DIT unit created by them & based on their wish lists for post-production after decades of production and post-production experience.
The system is placed on or near set and is designed to save time & money for producers while offering exceptional quality for advertising, documentary, film & television production and post.
The core of the system is an extremely powerful workstation based on a fully optioned Apple Mac Pro with Da Vinci Resolve software & hardware. The combination avoids the need to use the traditional off-line (or with proxies) workflow, then re-conforming on-line, and the time required for this.
With the Mobile Lab, it is now possible to work with a full high-resolution deliverable or master in HD, 2k, 4k, or 8k from the first day of shooting.
The Mobile Lab is both a lightning-fast DIT workstation and creative editorial, colour grading and audio editing hub - all within a single system.
David Bush & Mike Connor present a cutting edge editing, colour grading and DIT unit created by them & based on their wish lists for post-production after decades of production and post-production experience.
The system is placed on or near set and is designed to save time & money for producers while offering exceptional quality for advertising, documentary, film & television production and post.
The core of the system is an extremely powerful workstation based on a fully optioned Apple Mac Pro with Da Vinci Resolve software & hardware. The combination avoids the need to use the traditional off-line (or with proxies) workflow, then re-conforming on-line, and the time required for this.
With the Mobile Lab, it is now possible to work with a full high-resolution deliverable or master in HD, 2k, 4k, or 8k from the first day of shooting.
The Mobile Lab is both a lightning-fast DIT workstation and creative editorial, colour grading and audio editing hub - all within a single system.
David Bush
David Bush
David Bush

CV
Companies & facilities timeline from 1975
Following on from an education in Arts and Sciences at Bishop's Stortford College, I moved to Italy straight from school and started working first as a stills photographer.
I lived between Milan and Rome, and, once visual effects supervision took me ever more onto advertising and film sets, I lived and worked in China, India, Italy, Malta, Mexico, Morocco, Norway, South Africa and the UK, travelling extensively around the world to many different Countries for my work.
1976-78 : Assistant editor, cameraman, and program director in SPQR TV - an Italian private television channel based in Rome and managed by film Director Giuseppe Collizzi (a highly successful Film Director at the time, and famed for having created the BUD SPENCER / TERENCE HILL Comedy Film Franchise). Collizzi placed his film professionals in the television station and I was trained extensively by them.
1978-83 : Post Production consultant in S.B.P. S.p.A.- a Post Production Facility in Rome, Italy, where I specialized in long format editing, digital video effects, and television graphics. Thanks to my determination and craft skills I became a highly successful professional addition to the company, bringing in large quantities of advertising and broadcasting clients from Milan in those years.
1983-1985 : Consultant to RETE 4 in Milan (Channel Four - an Italian national private television channel), where I managed the network’s image and helped build the advanced post production facilities for these; I was among the proponents of the so-called “Technical Operations Centre” (TOC, and which is still in operation today, some 35 years later).
1985-1986 : Consultant in UVC srl. - an independent post production facility in Milan, Italy. I managed the creative, commercial, and technical divisions of the facility. During this period I also began on - set visual effects supervision, first in advertising, then later in feature films - an activity that was to become ever more part of my professional career.
1986-1987 : Founder and President of IMAGINACTION srl. In Milan - a small, highly focussed company based around Quantel’s Paintbox and specializing in graphics and animation for commercials, corporate communication and broadcast television. The company was housed first in GUICAR srl. for 6 months - a larger post production facility then without graphic capabilities at the time and subsequently, in TTV S.p.A., the largest post production facility and film laboratory in Milan at the time. The highly successful, small company was subsequently bought outright by ETABETA srl., a larger, Rome based production and post production facility, and I went on to found a new computer graphics and visual effects division in TTV S.p.A.

1987-1991 : Founder and managing director of DIGITALVIDEO srl. in Milan. The first Italian "All Digital" post production facility to propose an efficient "Soho, London" style post production facility. The company succeeded in obtaining strong market share in a very short time, and was highly profitable in the first year of operations. Since 1991 David is no longer shareholder of the company. The company became part of TTV, subsequently Blue Gold, and then The Square.
1992-2000 : Co-founder and managing director of INTERACTIVE S.p.A in Milan with Bruno Bogarelli and Giambattista Bianchi. Originally conceived as a multi-company - digital post-production facility in Milan, and an early player in film visual effects. Interactive became a Market leader in its first year of activity. Since 2000 I am no longer a shareholder of the company.
2000-2003 : Founder and managing director of CINECITTÀ DIGITAL a new facility and division within the CINECITTÀ STUDIOS complex in Rome. The innovative facility was a World pioneer and technical testbed for cutting-edge digital film technology in it’s day, and soon became a showcase for other facilities around the world in those years. The facility also gave daily feedback to technology manufacturer Quantel for development of the iQ/Pablo platform. David trained personnel and started-up a brand new pioneering digital intermediate division while stimulating involvement in several European high technology research and development projects.
2006-2007 : Digital technologies and visual effects supervisor in AUGUSTUSCOLOR, Rome. The Italian processing lab installed state of the art digital technologies and built up new visual effects, digital intermediate, digital sound, and digital film printing divisions with my consultancy, guidance and help.
2007-2009 : Visual effects producer and visual effects supervisor for Mumbai-based ROSE MOVIES in India. I pioneered in India the 4k digital intermediate process for the film's post-production.
2009-2010 : Consultant in E-MOTION srl., a digital production and post-production facility based in Genoa, Italy. The company, an early adopter of Red Cameras, and present in the market mainly for corporate communication and commercials until my arrival, made investments in 3d equipment, with the objective to become the first complete 3d-capable facility for feature film production and post-production in Italy. I also operated the company’s Quantel Pablo for colour grading and stereography and followed production as a stereographic supervisor.
2011: I consulted to SEAGULL srl. a Rome-based, editorially experienced post-production company who went on to invest in high-end film 3d technology thanks to a Lazio Region fund project for innovation which I helped to create, and now offers its services to feature films, corporate communication and advertising clients. I also operated personally the company’s 3d Quantel Pablo for color grading and stereography while I was there, training up the company’s personnel to operate it themselves.
1987: Director of the videographics department of TTV S.p.A. in Milan. This proved the stepping stone to creating DIGITALVIDEO srl. together with financial backing from some of TTV’s partners.
2011: I consulted to film Production Company WILDSIDE srl. in Rome as director of 3d for Fausto Brizzi’s film “COM'E' BELLO FAR L'AMORE IN 3D!". Italy’s first film of it’s kind to be shot and post-produced in 3d.
2013 -2014: I worked as 3D Native Stereographer on director Jean-Jacques Annaud’s "THE LAST WOLF" for a co-production with French Reperage and China Film Group.
2018: I became Senior International Consultant to AUGUSTUSCOLOR, Rome.
2019: Together with Mike Connor, we have developed the 8k Mobile Digital Lab for worldwide rental.