New to Red as a DIT

[Joshua Earles-Bennett]

So I've done some DIT/Data Wrangler/Loader for the P2. As Red shooters and editors, what should I expect to be different? What software should I have loaded on my MacBook Pro as a DIT for Red? What's a good folder structure to have? Or is it as simple as dating a folder and dropping the files into Volume Folders? Thanks for any insight you can provide.

 

[sander kamp]

It depends on the size of the production. There is a big difference between a no-budget music video and a multi-million dollar feature film. As the budget goes up, so goes responsibility and technical requirements.

 

[Dan Kanes]

Learn RedCine-X first.

 

[Jason Samuel]

DIT for RED is similar in that you are responsible for ensuring all data is transferred and backed up completely and properly. But "drag and drop" is strongly not recommended for RED or p2. There are several recommended transfer methods (which you can research here), but the easiest method would have to be using R3D Data Manager software and Clipfinder as one method to visually verify the transfer. DIT duties extend a bit further to assure consistencies in data transfer and shot settings. I.E. making sure footage is shot in the proper resolution, frame rate, aspect ratio. Depending on the production, a DIT may be asked to perform a first pass color to footage or transcode footage to an intermediary format for an offline edit or for dailies.

 

[Joshua Earles-Bennett]

Thank you. It's a commercial for a local school, but its got some money to throw around. I'll check out that software Jason.

 

[Eren Ozkural]

I can't recommend R3D data manager highly enough.

 

[Jordan Livingston]

I can't recommend R3D data manager highly enough.

DITTO!

Also, it's necessary to distinguish between "media wrangler" and DIT. Most DITs are also media wranglers, but not all media wrangler's are also DITs!

As a DIT for RED, I am careful to talk with the DP and the Post House to gain very specific details about the pipeline. What format will they be grading / finishing / mastering in? What color space / gamma / LUT?

I'm also responsible for calibrating all monitors to ensure that what the DP and the client are seeing is a close approximation of what the recorded images will look like in their finished form.

If I'm the one making the dallies, I'm very careful to choose settings that will facilitate the specific workflow. I may grade on set with the DP to fix problems or enhance his intentions, or I may simply deliver un-graded LOG files, for a colorist to grade later.

There are lots of nuances and variables that I juggle in an effort to give each department what they want / need. With RED there are numerous options, and as a DIT, I try to get involved as early as possible to help guide the decision makes to do what's best for their time and money.

This, of course, is in addition to ensuring robust data backups. I use R3D Data Manager to make AT LEAST two copies of all RAW files. LTO tape backup is even better, when the production can afford to spring for it.

Please let me know if you have any specific questions and I'll be happy to try and point you in the right direction.

Best,

- Jordan

 

[Joshua Earles-Bennett]

Thanks Jordan. From what I'm hearing I'm mainly going to be a data wrangler.

One last question. I'm using a MacBook Pro to back up all the data. Is the SanDisk Compact Flash Card Reader good enough? It's the firewire 800 version. I'll be backing up R3D and D7 footage. Thanks.

 

[Jordan Livingston]

Thanks Jordan. From what I'm hearing I'm mainly going to be a data wrangler.

One last question. I'm using a MacBook Pro to back up all the data. Is the SanDisk Compact Flash Card Reader good enough? It's the firewire 800 version. I'll be backing up R3D and D7 footage. Thanks.

Personally, I prefer the "pro" Lexar reader, but I've also used the SanDisk with no problem. ALL of these card readers are fairly unreliable; that is, after 12-hours of constant use they heat up and start to act buggy. I usually have at least two, but sometimes more, which I rotate throughout the day.

You should also consider your whole data pipeline. Is one FW800 card reader enough to sustain you through the day. Typically you might be making 2-4 hard drive backups, and be media wrangling for multiple cameras. A more robust card reader, or multiple card readers may be necessary. Also, I put my hard drives on an eSATA bus like the Sonnet Pro Express 34 so that they do not share the FireWire bus with the card readers. I have found that if you daisy chain too many hard drives and card readers, you can run into problems ranging from overall slowness to random dismounts.

I really wanted the Sonnet Qio to be the catch-all solution to all of these media wrangling issues. It's certainly awesome on paper; multiple card readers, incredibly fast, 4 eSATA ports and 2 eSATA busses... but in practice, I have found it buggy and unreliable (so far). Still, it's THE BEST when it's working properly.

If you have a clean / new MacBook Pro, you may have more luck with the Qio than I have...

- Jordan