red tech prep duties?

[Jason H]

I have been the red tech/data manager on set since red came out. Most local CO.'s (i am in the midwest)will not pay me for a prep day. I have been going down to the camera house on my own to make sure things run smooth on set.. Larger prod. co's have offered me a prep day(co's from LA,NY,chicago). What should I be doing on these prep days other than.

1.making sure there is enough media to record to.
2.Making sure the media and camera work at diff. frame rates.
3. Talk to dp to set up looks and frame lines.
4. Find out what the edit house needs and what is the final aspect ratio for the spot.
5. make sure the camera is working and has all the right cables/etc

thanks for your time!

 

[Simon Baechler]

Check collimation for all lenses at different distances. The same thing you do with film cameras. Just with the RED you have to do it by eye on the camera.
Do a backfocus with the widest lens at the widest aperture. If a single lens is off you have to have the shims in that lens changed instead of adjusting the backfocus of the camera. (Often the 50mm Zeiss T2.1).
Make sure the sensor is clean and there are no scratches on the OLPF.

Now that the new audio board is out, make sure you have the right audio cables and make sure the sound guy knows.

Check out the camera head and make sure the grips have the right base for their dolly. (Mitchel or 150mm ball.)
Test all accessories if you have them. Like down converter or wireless video. If you have a wireless remote focus make sure there is no interference with the wireless video.
Check filters for scratches. If there are any make sure the rental house cannot blame you later on.

Just make sure you have everything you might need on a shoot. If you are going to have steadycam you might need a down converter for the steadycam operator. If you are going to have action scenes you would want to bring some extra CF cards...

 

[Dwain Barrick]

Simon all valid points but it sounds like most of this stuff falls under the 1st AC responsibilities.

Jason, as Tech/DIT I'd make sure that all software is up to date on camera and computer system (if the Production Company is supplying).

If it's a multi camera shoot or if there is a back up body I would compare footage from both cameras at the same recording settings and quality modes. To make sure that the footage matches.

Test all back up hard drives and make sure they mount properly.

Be available to the 1st AC to answer any questions regarding camera performance and limitations in regards to frame rates and resolutions.

Find out what user assignable options the operator will need on the EVF, monitor and body and map accordingly.

Find out what kind of Video assist system will be required on the day and test monitoring settings for HDMI, SDI or dual link HD-SDI playback.

There are many more things that will come out to light during the prep that are job specific. I'd be interested to see how this list evolves.

I work independently as a Red Tech and as a Commercial Production Manager, I feel that it's in the Production Company's best interest to invest in a thorough prep to insure that the camera and all of it's accessories are in top working order. It's irresponsible to go camera without having done so. The prep day is something that we should all push for.

 

[Jason H]

thanks!! all good info Diabolik.

 

[Nir Shelter]

Second the importance of a prep day and definitely needs to be a paid day, possibly at a reduced rate but payed non the less...
That said depends on the nature of the production and budgets involved I wont charge for prep if it seams inappropriate.

The list above for prep day checks is good and thorough. Yet we need to differentiate now at the fairly beginning of Hi res/solid state integration as industry standard, between 1st AC and DIT. I work mostly as AC/DIT that is my choice in order to increase my appeal to producers. BUT that doesn't mean that one comes on the account of the other. When I AC I AC fully with out compromise and when I DIT I DIT fully with out compromise... and invoice accordingly.

For AC prep day checks there are many publications that can extensively explain the full scope needed. From my understanding the Camera assistant's handbook is the best one to go by.

The DIT prep day checks should be separate to the AC checks and are:

make sure that all software is up to date on camera and computer system (if the Production Company is supplying).

If it's a multi camera shoot or if there is a back up body I would compare footage from both cameras at the same recording settings and quality modes. To make sure that the footage matches.

not sure I would do the camera comparison check. I would also check all raid arrays and redundancy drives that are intended to be used on the shoot.

Be available to the 1st AC to answer any questions regarding camera performance and limitations in regards to frame rates and resolutions.

Find out what user assignable options the operator will need on the EVF, monitor and body and map accordingly.

Find out what kind of Video assist system will be required on the day and test monitoring settings for HDMI, SDI or dual link HD-SDI playback.

Definitely communicate with the post supervisor to ensure a correct work flow and accommodating camera settings. Check amount and type of media supplied with the kit ensure it will fit the projected shooting ratio with respect of the back up transfer rate. As well as ensure it will accommodate the used RC and aspect ratio. Make sure non of the drives and cards are faulty and that the kit comes with a bat/drive cradle if shooting to drive.

If strobe or laser effects will be shot conduct a test shoot with the DP and show the result of the test. Then advise on the correct settings and camera operation for the shoot. As others have mentioned these checks are highly dependent on the particular requirements of the shoot.

Lens tests, filter and lens check lists, camera heads and tripod bases are AC checks NOT DIT.

 

[Brent J. Craig]

I think for most shoots it would be a pretty hard sell to convince production to pay for a prep day for the DIT. Everything mentioned here is typically done by the AC during prep.

 

[Nir Shelter]

Typically I doubt any AC would check computer software, updates available, backup systems, redundancy HDD, camera builds, Red drive, card functionality, amounts required as per back up system transfer rates, or post and production compatibility settings, image capture settings to fit special effects and or over/under cranking, I can go on... not all mentioned here is AC.

 

[Brent J. Craig]

Typically I doubt any AC would check computer software, updates available, backup systems, redundancy HDD, camera builds, Red drive, card functionality, amounts required as per back up system transfer rates, or post and production compatibility settings, image capture settings to fit special effects and or over/under cranking, I can go on... not all mentioned here is AC.

I check 8 out of the 10 things you mentioned when prepping a Red package as the AC. The other 2 (having hard drives) are obviously the DITs job and do not require a prep day.

"Hey DIT, did you remember to bring some hard drives?"
-"Gee, sorry. I didn't have a prep day."

All I am saying is that there is already some resistance to using Red (transcoding costs, post workflow) and telling producers that it takes 2 people to prep a camera package won't play well.

 

[Florian Stadler]

I don't think RED really requires a DIT like a traditional video DIT anymore (maybe needed with earlier firmware builds when the system wasn't reliable yet). The DP specifies the specs for camera settings and the 1st A.C. executes them on the fully paid prep day (questions will be answered by the camera house). What you do need is a Data Manager that handles the downloads/backups and prepares Dailies as specced by production/post and prepares DPX files for the DP to create color references and brings files up in Redcine as requested by the DP to check things.

We don't need a DIT to handle 3 menu strains that mainly effect metadata.
Sorry DIT's someone had to say it.

 

[Brian Reisdorf]

keep in mind DIT's are also on set as a sort of insurance policy for the camera. Just because the AC can switch cards doesn't mean they can diagnose/fix any issues that arise, or accommodate the director/DP if they want to do something whacky.

Most AC's I've worked with WANT a DIT there with them because they already have enough to worry about and keep track of without having to know the inside and out of a new camera system.

 

[Florian Stadler]

The camera doesn't need an insurance policy anymore. It is out of Beta and works reliably. An AC can unplug cables and reboot if necessary quite easily.

I might have a controversial point of view here but I've shot entire features on F900 without a DIT that successfully went to film out. I take an extra Electrician over a DIT any time of the day and work with A.C.'s that are aware of that.

 

[Brian Reisdorf]

All I can say is my experiences have shown otherwise when it comes to the RED. The post houses like us to be on set, as well as the AC's. Our DITs double as data management on most single camera shows, but we almost always have a dedicated DIT on multi camera shoots.

Also, I'd hesitate saying the camera doesn't need insurance just yet. We had a brand new body error out on a six camera shoot this weekend. Technically it was fresh from RED factory loaded. The AC and camera op couldn't resolve the problem, they called on our DIT and we had it worked out inside of a few minutes.

 

[Alex Carr]

He's right, DIT's won't be on Shows... Maybe Red Technician's / Asset Manager, But not DIT, especially since nothing a DIT does on a Red show actually involves his Job description under Iatse 600.

 

[Brian Reisdorf]

He's right, DIT's won't be on Shows... Maybe Red Technician's / Asset Manager, But not DIT, especially since nothing a DIT does on a Red show actually involves his Job description under Iatse 600.

Fair enough regarding the "official" definition and job description of a DIT, but I think most of us here understand that we're refering to a RED specific tech who monitors and deals with the aspects of the RED camera system outside the realm of an AC.

 

[Chris Parker]

i agree with crepix and florian. there is no need for a DIT (data manager) to go to a prep. maybe for a feature, but not a commercial. a simple phone call with the basic info. on the shoot from the Production Manager or 1st AC is all that is needed. RED is way more about data management than 'DIT'ing. No question.

 

[Alex Carr]

i agree with crepix and florian. there is no need for a DIT (data manager) to go to a prep. maybe for a feature, but not a commercial. a simple phone call with the basic info. on the shoot from the Production Manager or 1st AC is all that is needed. RED is way more about data management than 'DIT'ing. No question.

I always go to prep, whether I'm paid or not. Everytime I don't get a prep or can't make it, I have issues that could have been resolved at Prep.

For Instance: A Red Drive not Mounting over FW800, 3 of 4 would. but the 4th wouldn't. I would not let camera dept shoot on this one, If I was at the Prep I could have stopped this one from ever leaving the Door because it is Un-Professional. FW400 and USB are very poor in speed, and it messes up my entire Workstation trying to pull several things in over Firewire 400, when E-sata is now the standard, Everytime I hook up two Red Drives or CF Card and RED Drive (when one is on the FW400port), Both disconnect and stop the current transfer(if in progress). Not to mention when I'd have to keep Producer's / Directors on set waiting for a drive to copy twice or three times at the end of the day.

This position in Prep is MANDATORY, always ask for it. We are dealing with sensitive equipment that must be checked out before hand.

 

[Brent J. Craig]

I always go to prep, whether I'm paid or not. Everytime I don't get a prep or can't make it, I have issues that could have been resolved at Prep.

I think it sets a bad precedent with producers to work for free. If problems can be prevented by proper prep, then they should pay someone to prep. If they want to cheap out on preparation, they assume that risk for the shoot day.

I have been guilty of using the term DIT when referring to the footage management position. I know it's not the IATSE600 definition, but people have explained it as Digital Information Technician.

 

[Alex Carr]

I think it sets a bad precedent with producers to work for free. If problems can be prevented by proper prep, then they should pay someone to prep. If they want to cheap out on preparation, they assume that risk for the shoot day.

I have been guilty of using the term DIT when referring to the footage management position. I know it's not the IATSE600 definition, but people have explained it as Digital Information Technician.

Of Course, I don't work for free. And usually when I can't make a Prep this is why... I at least try to pop in and meet any new crew and Visually see what we have to work with.

 

[Nir Shelter]

Can't avoid the need for the DIT, Data wrangler, Data manger or what ever we choose to call the position's on a prep day. Of course if a producer refuses to pay for it there is little we can do. I would still show up simply because it's the professional thing to do as the responsibility of the data reaching its end delivery format off set is solely on the shoulders of the... well what ever you want to call us. Any problems in post will filter back to the DIT Full stop! (hope no one gets offended for not sticking strictly to the IATSE6000 definition...).

The fact that some ACs want to take on more checks during prep is great, in my opinion this decreases the chances of faulty gear exiting the hire houses and or gear being forgotten. I think that Red1 like soon to be many other solid state cameras changed the clapper/loader position to clapper/data wrangler. Those who take that one step further and assume the responsibilities by supplying their own gear and consulting the production and post work flows. Need to over see the gear's handling from pickup rite through the shoot and are in my opinion Digital imaging technicians. It is their head on the block if something goes wrong with the footage. Whether due to data misplacement or errors, wrong settings or faulty camera/data gear no matter HOW MANY CHECKS THE AC DOES!!!

 

[Robert Howie]

DIT or Something else

DIT or Something else

Hey all,

I love that this conversation keeps coming up and I hope that it continues to evolve. I am currently a DIT under IATSE Local 600 for the reason that I best fit into that category during the time. It is my opinion that the need for a (old IATSE defined) DIT during a shoot with anything that shoots RAW Data, is not needed, and a Digital Loader would be fine. Since you are basically shooting "Digital Negative". Now that being said, a few weeks ago Local 600 OFFICIAL gained the roll of the Digital Loader/DIT combo (so to speak). Which means that anything that comes off the camera in a digital form is the jurisdiction of the Camera Dept. This means that the roll and duties of the DIT as we have known them is in the process of changing and evolving. If one chooses to shoot more like film and wishes to merely have a "Digital Loader" instead of a DIT for either budget reasons or other reasons then I think that is acceptable. A capable AC and Digital Loader should be able to manage that camera fine. Local 600 will now recognize the position of "Digital Loader" or what ever you want to call it.
The DIT's roll seems to be a combo of a few things. 1 - fulfilling the need for a Loader as a you would normally need. 2 - Working with the DP (as many of you have said) and creating looks and creating frames for single light grading for dallies and working to help create the looks if needed. 3 - Supervising the Data Flow through out the process and making sure the end deliverable is meet, from shooting to Post. 4 - It is true that one can merely take the data off as a loader would, but why not harness the power of shooting digital and have a DIT that can help Tech your camera and help fix problems if things go wrong and not loose that day of production? Just a thought and still, just my opinion.

I specialize in shooting Stereoscopic 3D images, with many different camera systems including the RED. Which means that I with every rig we have on either our features, commercials, or what have you, I always have two streams/cards/hard drives headed my way after they shoot the stuff. This also means that prep is vital because both cameras are locked together in phase and sync that there is always quite a bit of prep before each job. Making sure that you are working with the AC's and the DP I believe is crucial to whatever the position turns into since you are defiantly taking the place of the loader in the crew, along with probably more responsibilities.

In the end positions and their responsibilities will change and every job is always different. I defiantly do not have all the answers and often like to ask lots of questions. I look forward to continuing this conversation with many of you as the time goes on and technology continues to change.