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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 :)

Just Hit Delete

Omen I like the color tag idea a lot.

Maybe Green for go Yellow for maybe and RED for worthless actress hair adjustment and out of focus?

Last night on a spot we shot over 400ft of super 16mm of turning the camera upside down? Can anyone believe we need all of those? about 1/2 way through they changed the way they were doing it, and announced that the first200ft could not work...

You and I really agree about this. My first post on this thread was a plea for media management at the RAW level.
 
I just assumed a delete clip would be available. Seems like it would be important if you are using a compact flash with pretty limited recording space, or if you are stuck for more space on larger media. I still assume there is a review clip to see what you just recorded?
 
Don´t know if anybody thought about this, but especially with harddrives , wouldn´t there be fragmentation issues after some times which causes the data rate to go down ? And what about RAM / flash-based memory, do they have the same issues. Generally, do we need to reformat the mags after downloading footage to ensure proper data rates ?

EDIT: I Didn´t read the first page, fragmentation IS an issue, but that reinforces my question about having to regularly format the media or not.
 
best way_ never delete files on the set! it is so dangerous to delete the wrong file. You have no backup - if it is lost - it is gone !
 
BBC want less data

BBC want less data

With a few exceptions BBC factual and learning have recently adopted DVCPROHD

At a recent BBC run "HD day" a senior production manager advised the audience of cameramen and producers that flash cards and tape should be rationed and film style shooting ratios adopted.
Hard drive storage is limited, she said!
So one step sideways (into low res HD) and one backwards.

Rolling whilst waiting for something to happen has its place in documentaries or commercials with animals and children.

Deleting files will enable loop record like functionality as well as satisying corporate bean counters.

Mike
 
Now i am the very guy likely to make a mistake! Would i want the facility to record over a take i considered useless. Yes, but only if i was absolutely 100% sure that it was only the last stop start take. Also this facility would be dangerous for me if it was in a menu choice. Murpheys law suggest i would somehow manage to find that facility and inadvertantly press it!

The idea of a seperate button to be pressed to activate such a facility should eliminate any wrong doing provided the button was not used for anything else. You press the button (placed in an unusual area of the camera perhaps) it brings up a menu box all in its own with DELETE. Then you press to go into that menu and you have to select record over previous stop start only. In other word anything to do with delete is kept well away from all other menus. Done in this way you could also put erase complete tape as an option. But it has to be pretty fool proof!

Just a beginners thoughts.
 
Since we're talking digital cinema here, you may know that this feature has been implemented in the Viper Filmstream. Heard an interview with David Fincher saying he used this feature during the filming of Zodiac. I've never used a Viper, so I don't know how it's implemented in that (much more expensive!) system, but Fincher to delete unusable footage, one would presume they were of the kind TJ was talking about... Of course, Fincher admitted that he wasn't worrried about "losing" good footage because he films a ridiculous shooting ratio of something like 25:1

The best quote from the interview was when he said that "...what you're not prepared for is the look on an actor's face when you say 'Let's just delete that take, we'll do it again.'"
 
Delete that take

Delete that take

Nothing to do with Filmstream or Viper.

Fincher reportedly forced S2 to modify their D.Mag disk recorder's code to allow him to delete the takes he didn't like on set ...
 
omen said:
. . . clip management on the set - not only it could save time AND money, but you could also be more creative in editing when your brain is not fried with shots repeated dosens of times.
That is exactly how brainwashing works btw, so there's a food for thought.
Click to expand...

Omen, I am with you on that one. Maybe my editing prowess needs to be beefed up, but I lose perspective after multiple takes. Now, granted, after marking p2 clips with a gradation I still end up looking at them all anyway, but at least they are not all seen with the same intensity, and I glaze over slower. Marking clips in camera would also save time in that I wouldn't have to take a break and return to the marked clips later, fresh for the creative pass.

And Thom, I really like your ideas in the new thread. Capital use of the rear display and buttons.
 
Stuart English said:
Nothing to do with Filmstream or Viper.

Fincher reportedly forced S2 to modify their D.Mag disk recorder's code to allow him to delete the takes he didn't like on set ...
Click to expand...

There were a lot of modifications....in any case thats what bigger directors can get hardware companies to do... One thing to note though the way the S2 can delete takes is really because of the way it handles the data in a rather ingenious way, and never has to worry about fragmentation.

I'm working on digitizing a spot right now thats probably going to shoot 10 dmags today, I shudder to think what would have happened if they didn't have that delete take ability. Its really dangerous (in a good way) when you give directors the freedom to shoot, but to think that every owner/operator isn't going to have to become a data manager as well is slightly funny.

But really I see red data managers are going to have a lot of the same problems that I've experianced in our data workflow. Its nothing that can't be overcome, but its tough and is going to require quite a bit of education. Just wait till you get an editorial company demanding a correct layoff of digibeta from your pretty redcode files, with timecode and keycode burned in. Because they're running a version of media composer thats 3 years old.

Personally I'm praying at NAB that Red announces strategic partnerships with final cut and avid otherwise this is going to get even more interesting than it already is.


Jeff Brue
Technical Director
Digital Film Company
 
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