On-Set Workflow (LTO, Cards, and Drives, oh my!)

[Casey Green]

I'd like to start a thread where people can talk about their on-set workflow when doing data capture for various productions. (as well as off set archive process).

I realize there are a few other topics started, but I'd like to try to concentrate specifically on what various Productions are asking for in terms of Data Storage for the long term, as well as their on-set to editorial process.

I would appreciate it if anyone would be so kind as to give some examples from recent Productions to answer any of the following questions:


1) Did Production shoot to the RED DRIVE, RED RAM, or the RED CF Cards?

2) Were the original RED CF Cards kept or recycled throughout production?

3) What preferred transfer format is editorial asking for? (what type of drive, how large, how often?)

4) What Capture software was used during the process? (and any additional software)

5) Were any additional requests made during production besides just Data Capture? (On-Set Grading, LUT generation, Dailies, High-Res Monitoring?) (This would be considered separate from real-time Video Assist)

6) Did the Production have an Insurance policy that specified how the Archival of the footage must be done? And if so, what format? (LTO, Hard Drive, DVD or Blu-Ray, etc.?

7) Please desribe the type of Production and rough budget, if possible.

Thank you everyone, in advance, for any information you can provide.

 

[Cail Young]

From a recent feature shot 100% exteriors in remote locations:

1) Did Production shoot to the RED DRIVE, RED RAM, or the RED CF Cards?

Primarily to the RED DRIVE for convenience's sake, occasionally if we were near enough to power we would roll cards instead.

2) Were the original RED CF Cards kept or recycled throughout production?

Recycled.

3) What preferred transfer format is editorial asking for? (what type of drive, how large, how often?)

We sent "Mule" 500GB hard drives back daily or every 2 days containing R3Ds to our "digital lab" where they were converted to 1080p Prores HQ (initially 720 but they requested higher res to QC for focus).

4) What Capture software was used during the process? (and any additional software)

Redrushes in the lab and REDCINE on set for spot checks.

5) Were any additional requests made during production besides just Data Capture? (On-Set Grading, LUT generation, Dailies, High-Res Monitoring?) (This would be considered separate from real-time Video Assist)

Occasionally we pulled continuity stills or clips from the rushes (sent back to location) as well as checking focus at 4K on some critical shots.

6) Did the Production have an Insurance policy that specified how the Archival of the footage must be done? And if so, what format? (LTO, Hard Drive, DVD or Blu-Ray, etc.?

No.

 

[Alex Carr]

LTO is not recommended on a Location, ON a stage is another matter...

 

[Chris Parker]

I use LTO3-A on location ALL THE TIME. What is recommended and what is possible are two separate things.

 

[Alex Carr]

Of course,

It all depends on locations though... So its a wise choice to look ahead...

AND Especially, Find out if the sprinklers will go off in the middle of the day or middle of the night, which happened to me after Locations swore it was taken care of. Luckily I was near my Cart when they went off.

 

[BigLu]

1) Did Production shoot to the RED DRIVE, RED RAM, or the RED CF Cards?

First things first once the camera is up, pop off test footage on all the cameras and preview video on REDCINE.
Then shoot on RED Drive from morning till Lunch. I pull the Drive @ lunch and download giving crew a 2nd RED Drive.

After lunch I String out all footage and check clips.
If editorial is using FCP i begin to build there edit bins.
Using the Clip software someone made on here which slips my mind at this moment. This software is just so USEFUL.



2) Were the original RED CF Cards kept or recycled throughout production?

I recycle Cards and Drives
after footage is backed up 2 drives deep 1 master 1 backup on set always.


3) What preferred transfer format is editorial asking for? (what type of drive, how large, how often?)

Thats been up to me most of the time.
I liked 1TB G-Raids or anything over 750gb with FW 400 on up to E-Sata.
NO CHEAP DRIVES EVER.



4) What Capture software was used during the process? (and any additional software)

CLIP something.


5) Were any additional requests made during production besides just Data Capture? (On-Set Grading, LUT generation, Dailies, High-Res Monitoring?) (This would be considered separate from real-time Video Assist)

On-Set Grading yes often times for the music videos and testing for Green screen shooting. and playback for talent and clients.
And pulling 4k Tiffs single clips and emailing that to the compositors to see how the blue screen or green screen pulls out.
Pulling Jpegs and emailing off to NY for Client approval while we are shooting.
Putting together short preview clips for Youtube per clients request because the footage looked so good to him.

Pre-Editing building bins, timelines, and pre edits.
Converting Proxies into PRORES for editing that night and not having to deal with proxies.



6) Did the Production have an Insurance policy that specified how the Archival of the footage must be done? And if so, what format? (LTO, Hard Drive, DVD or Blu-Ray, etc.?

Never.


7) Please describe the type of Production and rough budget, if possible.

Production budget?
IDK

ranging in the low 1,000s on up
and few music videos $250,000.00
Feature was about $400,000.00 is my guess.

 

[Virgil Kastrup]

1) Did Production shoot to the RED DRIVE, RED RAM, or the RED CF Cards?

Red drives (always keep a bunch of CF's standby, though)


3) What preferred transfer format is editorial asking for? (what type of drive, how large, how often?)

Avid DnxHD (8tb HDOne raid6 config, every 3 days)

4) What Capture software was used during the process? (and any additional software)

R3d data manager, redrushes, metacheater (redcine)

5) Were any additional requests made during production besides just Data Capture? (On-Set Grading, LUT generation, Dailies, High-Res Monitoring?) (This would be considered separate from real-time Video Assist)

All of the above

6) Did the Production have an Insurance policy that specified how the Archival of the footage must be done? And if so, what format? (LTO, Hard Drive, DVD or Blu-Ray, etc.?

Two HDOne's stored at separate locations was approved by our insurance.

7) Please desribe the type of Production and rough budget, if possible.

Feature filmed on location. Lots of exteriors. Approximately 2 million dollars

 

[Casey Green]

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