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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

What should I know as a DIT for Red?

J

Joshua Earles-Bennett

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I've been a DIT for P2 cameras and was asked today to DIT for a Red shoot coming up next week. What are some things I should know? What questions should I be asking (like, what will it be edited?), and what are some common mistakes I should try to avoid? Any suggestions or links would be helpful. Again this is my first time doing DIT work on a Red shoot. Thanks.
 
yikes.. the word DIT gets thrown around very loosely!

Ive been on sets where the last guy they hired claimed to be a DIT yet knew NOTHING about the camera..

80 percent of the job is knowing everything about the camera.. functions, menus, fixing any problem they may arise, build issues, so on...
10 percent is data back up and checking the footage to make sure you have no issues with the footage, the other 10 percent (depending on production)
is creating looks and saving them. this is done with histogram and color in redalert/redcine
 
I'm coming on strictly to backup the footage and check it on the day to inform the camera department of any issues. I may be doing playback as well.

Sadly I won't be another AC on the camera, though I would love to, but till that day, what should I know and ask as someone backing up the footage?

Are there certain programs I should have loaded on the computer I'm backing up to?

Is there a different backup system of folder structure needed for FCP, Adobe, or Avid?

What files will I need to use, when someone ask for a playback? From what I understand they should be .mov reference files.

This is just my starting point. I just need material to read and advice from people with similar experience to get me started.
 
Josh, is this a low budget shoot or a big production. If the latter, make sure you have all your bases covered. It will get ugly very quickly if not. For example, you need to know if the camera being used has the old audio board or the upgraded audio board. Makes a big difference.
 
Steve,

I'm not sure the budget yet, but I'd say it's got a good budget because I know the G&E company that will be lighting this shoot. As to the audio board, I'm curious as to the problems that will arise from that? I'll definitely ask as well.

stevesherrick said:
Josh, is this a low budget shoot or a big production. If the latter, make sure you have all your bases covered. It will get ugly very quickly if not. For example, you need to know if the camera being used has the old audio board or the upgraded audio board. Makes a big difference.
Click to expand...
 
stevesherrick said:
Josh, is this a low budget shoot or a big production. If the latter, make sure you have all your bases covered. It will get ugly very quickly if not. For example, you need to know if the camera being used has the old audio board or the upgraded audio board. Makes a big difference.
Click to expand...

Can you elaborate on the differences between the two and how they affect decisions made on-the-day?
 
as far as audio boards go...
old ones arent that good.. new ones are.. but technical problems that may arise (depending on builds)

you may see a constant bouncing of the meter when getting a solid tone... i dont know if this will effect the recorded audio or not (build 18)
I have yet to record audio into build 18.. but i do know that it will give you a weird meter when sending solid tone.
I have to jump back to 17 after i saw that.
(went to 18 to use anamorphic lenses.. but ended up not using them)

of course you will have a delay in timecode on the monitor..

there are many issues. study up tonight!

if your just doing data management you should be mellow.. just study up on the issues that can occur and know how to spot them
 
If you are not doing checksum backups make sure to go through clips thoroughly once they have been copied over. Have battery backup for powered drives. Keep your file structure organized and communicate with post house if possible to see if they have particular file structure they want employed. Make sure your laptop is up to date with Red apps. Have firmware builds handy if the camera runs into issues that can't be easily resolved. If strictly data manager, just do what they hired you to do until called upon to help with camera. If you are not comfortable with the camera yet, simply be honest about it and say data management is your thing until you've learned the camera thoroughly.

Should go okay if you follow these guidelines. How many drives are they providing.
 
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