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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 :)

Local 695's RED Day

Zakaree Sandberg said:
In my opinion.. any one who touches a camera (except for director) should belong in a camera union.

Does a film loader belong to sound? i dont think so..
so whats the difference?
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Difference is that you don't have a camera loader doing video playback or data management. I'm in Local 695 so of course I think the classification of DIT to reside in 695. There's nothing in the camera local that says Local 600 guys can playback media. I understand the argument that people that touch the camera in anyway should be part of Local 600. But the facts are that many of the digital acquisition cameras are more like computers than cameras. So that requirers people that have a greater knowledge of these cameras, which are typically the DITs. Plus it seems much safer to have the DIT doing the media changes as then there's less of a chance something gets accidently lost. There just seems to be more reason for the classification to be in 695 is all I'm saying.
 
This is the kind of insanity that makes people dislike unions. IA needs to figure it out and give those who are interested in DIT work a clear path and accept the fact that as the technology evolves some of the existing sub-jurisdictions will no longer make much sense.

For the most part the union leadership is trying to do the right thing, but their policies often seem reactive rather than proactive. They also need to recognize that the economics of the motion media industry are changing pretty dramatically. More channels in TV land, less ad dollars, devolution of the big broadcast networks, IP media delivery, risk averse conglomerates running the studios, more affordable tools of the trade, etc. I contend that the majority of jobs in the modern media landscape will require broader skill sets, smaller crews and creative approaches to delivering content at lower price points.

IMHO, if the union system does not evolve it may find itself reduced to a sliver of the industry:

"It is not the strongest of the species that survive, nor the most intelligent, but the most responsive to change." Charles Darwin

Cheers - #19
 
Blair S. Paulsen said:
This is the kind of insanity that makes people dislike unions. IA needs to figure it out and give those who are interested in DIT work a clear path and accept the fact that as the technology evolves some of the existing sub-jurisdictions will no longer make much sense.

For the most part the union leadership is trying to do the right thing, but their policies often seem reactive rather than proactive. They also need to recognize that the economics of the motion media industry are changing pretty dramatically. More channels in TV land, less ad dollars, devolution of the big broadcast networks, IP media delivery, risk averse conglomerates running the studios, more affordable tools of the trade, etc. I contend that the majority of jobs in the modern media landscape will require broader skill sets, smaller crews and creative approaches to delivering content at lower price points.

IMHO, if the union system does not evolve it may find itself reduced to a sliver of the industry:

"It is not the strongest of the species that survive, nor the most intelligent, but the most responsive to change." Charles Darwin

Cheers - #19
Click to expand...

Unions in almost every industry shoot themselves in the foot on a regular basis. It would be nice to have a clear definition as to what each classification does and have that updated when things change. But I'm not sure I see that happening anytime soon.
 
Interesting so what happens on a Tear 1 union shoot?

When its required to have union 695 audio guys is it required to have a 600 guy for DIT?
Or what is the requirement for DIT on a 1.5mil feature shoot.

What happens if there is a transcoding happening on set does that mess with the editors union?

Any feed back would be cool.
Thanks guys.
 
How many DITs do playback? I never do. I play footage for Director and DP as I am doing coloring, but I am not part of video village. On a lot of my shoots the camera op will playback the last take from camera, but never me from my DIT station. I have had a couple ADs tell me to que up take so and so, and I just tell them I am not playback.

Dusty
 
man this kinda sounds like a bit of a mess...
 
The very fact that many DITs don't feel playback falls under their duties to the production, relegates it to 695. I think the video tap recording and playback fell with 695 historically, and that is why it continues under that union class (I could be wrong about that, I'm not in that union).

The odd part is that on many union shoots, depending on the camera, when they want playback it's often the 1st AC or operator who does it because the playback device is technically on the camera, so yeah, defining who does playback is messy if you're trying to pigeon hole it into a union class. I figure it should be the person who has the easiest access to do it without interrupting their duties.

Dustin Cross said:
How many DITs do playback? I never do. I play footage for Director and DP as I am doing coloring, but I am not part of video village. On a lot of my shoots the camera op will playback the last take from camera, but never me from my DIT station. I have had a couple ADs tell me to que up take so and so, and I just tell them I am not playback.

Dusty
Click to expand...
 
Dustin Cross said:
What do you mean by "it"? DITs should fall under 695 because we don't do playback or playback should fall under 695, which I think it does.


Dusty
Click to expand...

The playback element is just one little thing. Local 695 also as I understand it controls the management of data as well. Which, if true, would place the jurisdiction of DIT right in 695, not 600. I'll look it up and post what I find.
 
Okay, the closest thing I could find right on 695's site was this.

The Video Engineer - Data Capture Operator records video and sound when the recording device for the camera is not contained within the camera itself. In the case of the latest generation of High-Definition video cameras, specialized recorders are used in order to sustain the incredibly high data transfer rates that are generated by these cameras.

Now I can see why 600 would try and snag up this classification. But unless you are recording onto the RED Drive or RED CF cards and using them as your archive media this wouldn't work. Because as soon as its backed up on a drive outside of the camera then it would be recorded to something outside of the camera.

Of course there's no clear cut way to really tell if its suppose to be in 600 or 695. I'm sure there will have to be a meeting to sort it out.
 
DIT is an odd position.

I go from being the guy on set who knows everything about the camera and makes sure everything is configured correctly with camera and even help the DP understand how to best use the camera (exposure, etc) and am the first person called if there is any problem or if they want to change something with the camera software.

Then I do media management on set, but I hear a lot of DITs in LA are making shows get a digital loader to do this.

Then I am very involved in making dailies. I do quick color correction and atleast set-up the render of the dailes, and most of the time I render out the dailies.

Then I work very close with the post house setting up the post workflow that will work with Red. I start working with post before day one of shooting and on some projects keep supporting them until the project is finished.

So my job crosses Camera (600) and edit (700), but I don't know about Sound (695). I don't do anything like video assist or data capture operator. Although I do archive all of sounds data, verify and sometimes sync it with the footage for dailes.


Dusty
 
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