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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 :)

DIT Pre-Pro questions

I view transcoding as an essential part of it because it is an important place to find bugs, besides it is really not that much extra work with a rocket on board...

I wouldn't format a disk untill it was transcoded, and that seems to fit well with most other replies here.

As to UPS
yes we have it, but just one that let me shut down nicely or change powersource.
Could have been beefier, but the mobility of the carts is an issue, too...
 
Sync = extra service, not normal.
Transcoding all = normal
Data Management: copy to HDD/raid = normal. LTO = extra service.

Power:
On bigfoot we use APC Smart UPS X 1500VA, 2U. It's pretty quiet without any load and works good in studio situations.

In the car we have gel batteries and a 1500VA victron energy inverter. I usually get power from the light crew, then the whole package works as a big UPS.

Laptop/portable solution we use a custom case with some cheap batteries. 12V. lasts a day. Sometimes we also use lentequip block batteries if needed.
 
One you figure out an export preset and a good location on the drives for your transcodes to live (which takes about 30 seconds on Day001 of the shoot), it's not that much more responsibility. Basically throw all the clips to want to transcode into a bin and Export All. Walk away. Without a Rocket, I recommend 1/4 debayer 1080 or 720 ProResSD. Do some tests and keep an eye on your Activity Monitor. Different debayering will behave differently with your processors.

Syncing should be done in-camera. Sound mixer should either run a line in or use a comtec for wireless. Again, this is something that is coordinated within minutes on Day001. This will give 1 track of audio that the editor can use as reference until it's time to synch the really good audio.
 
Alexa - has that need (if you|re not shooting REC, but why would you do that????)
5d - has that need
F35 - has that need (if shot log)
D21 - has that need

And most P2/XDcams etc would have that need if they|re used as B/C cams, to get a conformed timeline for edit...
 
DSLRs do cuz they shoot in h264, which you can't edit with. Apple Compressor has some good ProRes presets in it.
Alexa has the ability to shoot straight to SxS in ProRes. But it also shoots ARRIRAW in another mode and so that will probably require transcoding. Haven't done an Alexa show yet. But that's for another forum...AlexaUser.net? is there one, haha?

EDIT: There you go, listen to Gunleik
 
A DIT's main job is color integrity of footage on set and tech support for the digital camera. Data management is an extra responsibility we are assuming that should be a digital loader. Since digital loader is the junior position in camera and DIT is one of the senior positions and some productions only want someone to download, some productions are assuming DITs are just entry level people who download footage. Then the department expects you to fetch coffee and do timecards and stuff like that. I have some friends who are refusing to download media anymore because of this problem. they require a digital loader to be their assistant.

A DIT has the skills needed for good media management and so most of us do it. It is kinda like a 1AC slating. They can do it, but it is the job of the 2AC, and on a small show that does't have a 2AC the 1AC can easily assume that responsibility, but they are still a 1AC.

Syncing sound is something i try to avoid, but is needed on some shows.

Transcoding on set is very smart if you have the proper kit. It is the best way to find problems with footage.

Making dailies really isn't a DIT's responsibility, but if you are transcoding, dailies is really easy to add.

On set editing is something I don't do. I have the tools and the knowledge, but the production needs to bring in an editor if they want that. Same goes for video playback, productions need a proper video assist person. I can show you something from last week, but I am too busy doing my job to do the job of someone you didn't hire.


Dusty
 
Yes to transcoding. It's part of every job I do - even if it's only transcoding to 720p h264 for the director's iPad. I have a real neat setup going that automates this process 90% of the way. I almost always sync up sound (in RCX) with the auto match tool but always let the production know that if TC is off then it's not my problem. If they want manual syncing of all clips then I'll do it at an extra cost; mainly because I really don't want to do it ;-)

With regards to power:

I have a mobile setup in a Peli that allows me to run off of block batteries. I've built a couple of motorcycle batteries into Pelicases with 4-pin XLRs on the outside and customized the power to my Macbook Pro, RED drives and the Caldigit VR2 I'm using for backup. On my mobile unit I have no UPS, which is a risk I'm aware off and willing to take, but at least I'm not depending on an external power source which is nice when the light department is wrapping and pulling power or killing the genny. I am going to buy a Magliner at some point and when the time comes I'll probably build a neater power-system with a UPS.

I want my mobile setup to be - well - mobile and be able to carry it with me everywhere I go. A Magliner with 300 pounds of gear on it isn't exactly mobile in my world. From my experience I've learned that I really don't need super high quality reference/grading monitors on set. My Panasonic 1760 is plenty for that purpose. Besides - it's very rare that the DP has the time to really scrutinize the image. Most of them understand the nature of RAW and they've done extensive tests before shooting to make sure that the look they're going for can be achieved. I'd love to do the full monitor-setup sometime, but nobody has requested it yet. Usually they will do a look in-camera and switch to RAW to check exposure and that's about it. If I see something I don't like - extreme over or under-exposure then I'll definitely ask the DP if that's the intended look they're going for without sounding like a wise-ass. On a couple of occasions I've deliberately rated the camera (pre-MX) at 250 ISO to make sure the DP lit the scene better. I always make this call with the AC and he decides if he wants to tell the DP or not (sometimes it's better not to tell him!) ;-)

Back to power... In my car I have a very neat power setup that allows me to have external power (via a connector on the side of the car). When I'm running on external power it's charging both my "consumption" batteries and when they're full it will charge the van's battery. If power is lost then the combined inverter/charger will switch over to battery power within 4-5 miliseconds and allow me to keep everything running without any hick-ups. I can run for a long time (hours) with my Mac Pro on the batteries alone and if they're low on power (I have an expensive battery monitor w/ alarm connected) then I can always fire up the motor, which will give me about 4-500W continuous power while charging the consumption batteries. The neat thing is that the inverter is a true sine inverter giving me very clean power that will work with all the sensitive computer gear; the inexpensive ones do not always work with sensitive stuff and since I'm working with computers and so on - it's really a no-brainer. The inverter also "cleans" up the power coming from a generator - very nice. This was a quite expensive setup, but it's working like a charm and it's so nice to always know that you have your own power :-) The 2nd AC will be your new best friend because you can charge his batteries at all times ;-)
 
Great thread!

Interesting that a DIT's role varies so much.

Some are doing on set functions like protecting 4:3 safe and organizing make-up tests.

Would have thought those were right outside a DIT's responsibility.
 
I would like you all to chime in on Dustin's post.

Do you all agree that the DIT main job is NOT Data Management but color work on the footage and Tech Support for the camera?

Please chime in here.. After that, Tony I will have some questions on your great post
 
I know I am hired mainly to handle the signalchain planning from prep to online and making practical image workflow solutions for each step for the productions I am in.

Basically finding practical solutions so that we get and maintain a good exposure and maintain the integrity of the images all the way through.

The needs can vary quite a bit depending on the type of production and the people involved. I am supposed to communicate with everyone and set up good image-workflosws and practises.

Testing, preparing, discussing and documenting is a big part of my work to maintain image integrity and flexibiity for the different department, so:

Yes I am a lot with Dustin.

Practically that will involve copying and securing the data, too - but that's a task I can pass on when a production is up and running, then I'll see it again for prep for online and VFX work - if no new issues pops up during production...e
 
inmho it depends on the job,
in europe the general budgets are too low
to justify to hire two people, one for backup, one for the rest.
then it would be cheaper to shoot on film.
 
I do not disagree - nor agree with Dustin. His points are absolutely valid in the working environment he's operating in where there's a history of separating roles more so than we tend to do in most of Europe. Things are just done differently here - mainly because of budget limitations.

I think at this point we are well beyond discussing right and wrong ;-)

However - I do agree that the term DIT leans more toward the "image processing" side of things, but as Kaya mentions - the budgets on most European productions will rarely be able to have one guy around "just" to manage data.

In short - I think my role as a DIT is to "secure the image from camera to post". That also includes securing the physical copy of the files that the images reside in as well as securing the quality of the signal path. If the production forces me to choose (for budgetary reasons) between securing the recorded image and the monitored image then I would obviously choose the recorded image and make sure the monitored image is acceptable by the DP and the director. It has never been a problem, really.

I do wish more productions would hire someone like Gunleik or myself before shooting to set up a proper digital signal chain, color-balance monitors and instruct the video assist in how to comply with this throughout the production and continuously QA everything.

Besides my knowledge of the camera and workflow, what I'm also selling is the fact that I'm not a "17 year old kid". Believe me - it matters when I talk to producers that I have been working with computers for over 20 years and that I know electronics and never leave home without a soldering iron ;-) I've taken RED drives apart, switched logic-boards and rescued data from a RED drive because the board was fried.

I'm also very meticulous about logging everything to make sure everything is there and that editorial gets what they need to work with the files as fast and efficiently as possible. I always go through the script-report to make sure things line up. I always find something that don't match up and I make a big effort to mention this to the people involved, whether it being continuity problems I stumble upon, problems with soundfiles or time-code problems etc.

Stuff like that - aside from all the image-related things - is what will give you credit as a DIT and what will land you your next job.
 
"Secure the image from Camera to post."

Me likey.

OK let's jump into something new.. Most of you may not be doing it yet.. I know LightIron is, but Michael has not jumped in on this thread yet:

Playback on ipads, laptops etc by means of WiFi....

This goes along with Transcoding. Anyone doing this? If so HOW. Do you think this will become a major part of the DIT's services in the months to come?

Jay
 
Short answers here.

Don't do.
Is not on the map of the productions I am now involved with. (wrong answer, I know...)

I'd have thought it would come as live feed off camera first. Makes most sense, because the dailies... well we're pretty spread by then so a wifi thing sounds like it makes less sense.

But I am here to be convinced otherwise... -:)

You obviously have some master plan with your line of questions, curious as to where you are leading us -:)

I've seen a product comming for a while...
And I guess you like it.

But which? -:)

No idea...
 
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