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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 :)

RED One Camera 2 Years Old Today! 10 things to know from a Veteran User

clients

clients

In response to our fearless leader....

this is cronological

Client/Job
Jan 9/11 Art Piece
Apple iphone test
snoop dogg Promos for E! entertainment
sebastian hair products
Stray Boys - Short Film
hammer toyota
Chris daughtry
GE
tangueray
juanes
midway games - NBA featuring Dwight Howard
water babies - Wild Planet-
hp
Sky Tracer - wild planet
dubai-zain
feature-christian
Pepsi - test
kina grannis Music Video
wienersnitzel
pokeman
wild planet
sunsilk haircare products
steward hendler - closet
bryan adams new album
africa-zain
palmolive
narnia action figures/ hannah Montana
stewart hendler
flf spray racer
tyler goeckner short film
TechmediaPlanet
MythBusters
red digital cinema - NAB interviews
HUD
Ed Gutentag
Jordan - student film
Wrigley gum - Chris Brown
Nevada Tourist Council
switchfoot - narnia
mind of mencia
tyler goeckner short film
711
rock the vote - christine aguilaria
Tree of Life
Gavin rossdale
PSA _ pool Savety
Guitar Hero (Activision))
Allstate
olay aquacurrent
ingrid michaelson
Alkaline Trio
Tree of Life
Tree of Life
mattel
colgate
ruby Tuesday
comedy central - Bob Saget
psa - katrina
mattel
nike
Kings of Leon
Levi's
MTV Promos
hbo comedy opens
comedy central
rocketron
varsity fan club
the fray
brianiac pilot
juliana hough
febreeze
pbr
guitar hero
oregon files
paris hilton
saving abel
doc walker
kings of leon
chip foose, magnaflow exhaust
aspen dental
lexus
red jumpsuit apparatus yon/tony music video
long beach chamber of commerce
fleggaard
long beach helicopter
payless shoes
pussy cat dolls
mc donalds
Reno 911 (comedy Central)
Confessions of A Shopaholic (Green screen pick-ups)
Motts Apple Sauce
at&t
kelly clarkson
sag
zee - test
killers
dtv
coors
eye boogie 711 (alex)
foose (kenn)
joe kelly
cvs
ludacris (chris robinson) pick up
pbr
dannon yogurt
espn
joe kelly
espn
cvs
errol morris tests
busta rhymes
webmd
fabric softener
grisly bear
albertsons
american idol
MTV (Report and observe)
buckcherry nascar tnt
American Idol
american idol
american idol
vernon
american idol
tnt pickup - nascar
billy talent
subway
fox family
american idol
busch gardens
lewin stock
WEC/ Versus - cage fighting
altoids
american idol
Bud Lime
Apple Iphone 3gs - test
Apple Iphone 3gs - projection
comcast
Tree of Life
regions bank
quiznos (brook)
band hero
zambi
orbitz
adidas
nbc - trauma promo
t-mobile
Son of mourning
comedy central - secret girlfriend
music video - jordin sparks
hallmark
route 66
comedy central - jeff dunham
t-mobile
 
Well Dino just shut alot of people up with that 3 page credit scroll.. :)

Nobody will ever admit to dropping a hard drive because they probably wouldn't be hired again. But i've done it.... and lost footage along the way. Shit happens.

I bet most people that have read this post the next time they carry a hard drive somewhere they probably wont be sporting a fanny pack.. but they probably will be a little bit more careful.. and that alone makes the post worth it :)
 
dp's and directors

dp's and directors

not 100% on all the names...it is late...dir and dp may be switched.

these go with the client list posted earlier, i took it from a spreadsheet, but not in exact order, but close...

spreadsheets do not translate well to reduser i have found.

Jan Pfeiffer
Dave Dubois
Anthony Manler/ Kietel Diterickson
Mark Allen
August ANDREWS
Simon Baltasar
Martin Weisz
Emmanuel Lubezki "Chivo"
Joe Arnao
Damian Acevedo
Chris Blyth
Jerry Dugan
Dave Dubois
Jerry Dugan
Z DIR, YON Thomas
christian Moran - DIR
Sam Bayer
Damian acevedo
simon thirlaway, Decter bros
Jerry Dugan
Jerry Dugan
crash DP
Stewart Hendler
Gillies Duning
Z DIR, YON Thomas
crash DP
Jerry Dugan
Stewart Hendler
Jerry Dugan
Tyler G - Dir, Porto DP
Dino DP
Bengt Jonnson
Dino Cam Op, Ted Dir
Alex DP
Ed gutentag Dir
Kevin "Porto" -dp, jordan downey - dir
Jerry Dugan
Marty Copan
crash DP
Tyler Goeckner-zoeller - Dir, Porto DP
Sophia Mueller
Terrence Malick\Lubezki
Sophie - Gavin Rossdale - CRASH
Angel Decca, Sophia
simon thirlaway
Angel
crash DP, Tran - Dir
josh forbes dir/ damian acevedo dp
Josh forbes Dir/ Hiro DP
Malick Dir/ Lubezki DP
Malick Dir/ Lubezki DP
reed smoot
richard henkel
richard henkel
Crash
erik zimmerman
matt cantrell
david fincher/emmanual lubezki
crash- dp, sophie Mueller - dir
Roman Jakobi, Luc Schurgers
adam hauck/ nathan wilson
kevin beck ac/yon refer
crash
eye boogie
damian Acevedo
josh forbes / shawn kim dp
richard henkel/jason lakeshore
sean kim, wayne isham
william wexler
scott duncan
simon thirlaway
joe murray tom milo
damian acevedo, patrick newel, evan stone
joe pro
brad rushing
crash, sophie Meuller
Mario Signore, Phil Boston
joe murray
Jordan Valenti, Jeffrey DeChaus
yon thomas , tony petrosian
pat notaro
shawn kim, Peter Harton
pat notaro
shawn kim
joe pro
Paul Cummings, Tony Fiandaca; Igor Jadue-Lillo-DP
Joe Arcidiacono
Dino Dp
MALIK
Emanuel Lubezki
Pierre Rouger, wayne isham
sag
yon thomas
Emanuel Lubezki
Emanuel Lubezki, Phil Joanou
Tom Camarda, Joe Kelly
doug chamberlain
crash/ chris robinson
scott duncan
David Morrison, Matt Welch
espn
tom camarda
Patrick Daughters, shawn kim
doug chamberlain
bob chappel, errol morris
chris robinson/jeff ferarro
Judy Starkman, bob chappel
crash DP
Patrick Daughters, shawn kim
marcos Durian, Bret Koehler
Paul Brown shawn kim
Joe Arcidiacono
scott duncan
Shane Drake, shawn kim
Paul Brown,jeron
Shawn Drake, jordan valenti
david dubois
Paul Brown, jerron
Dino DP
ross richardson, Wayne Isham
Chuck Bennett, Igor Jadue-Lillo
Dave Dubois
Shawn Drake, jordan valenti
crash DP
Dino DP
scott duncan
Christopher Pearson, Shane Drake
Christopher Pearson. Shane Drake
Jim Matlosz- DP/ Brad Taylor - DIR
david fincher/emmanual lubezki
fincher/cronenweth
jo willems/ aaron ruehl
chivo/malick
wayne isham/simon Thrilaway
trio - chuck bennett
lisa/simon Thirlaway
pierre Rouger/rudy Schwab
star Whitesides - dp, Jaime Mortellaro
Jeff cronenweth, patrick murphy
peter salasnick
sean kim, roman coppola (dino OP)
nathan wilson
crash
crash/chris robinson
Gillies Duning
crash, Moshe Brakha
crash DP
Shawn Kim, Roman Coppola - Dir, dino-OP
 
btw, to answer someone's question, i use spreadsheets to calculate transcode times so i can give the upm the amount of time i need to finish a job. i also keep track of all my jobs, plus where all the footage is in my library, also listings and cross references of all the crew i work with, locations, stage and stage staff, tsa agents, airline employees, baggage handlers in different cities, fixers in dangerous places and other fun stuff, it is a bit more handy to me than pen and paper.
 
drive nomenclature as promised

drive nomenclature as promised

quickly...

i use two drives per camera per day.

i label the drive a001 & a002, on day one; a003 & a004 on day two, a005 & a006 on day three and so on; same thing with b, c, d cameras.

why dont you reformat after every download and have the drive numbers go up like a film shoot?

because this is not film, it is digital and why would you ever want to erase footage on the day of production.

moreover, a set is a very hectic place and my job on set is to keep exposure correct per setup, make sure the camera is set up with the proper settings per shot, download and replicate footage, transcode, QC & QA (see this article for some insight on the difference) , packaging, labeling and in some cases shipping.

these jobs cannot all happen simultaneously, specifically, if you download a drive and then wipe it during the day, how are you going to double check it to see if everything is there at the end of the job? you can't if you wipe it because it is gone and you can only hope that between setups and switching from 2k to 3k and changing from handheld to studio mode and helping to put the zoom up with the proper microforce cable and helping the ac troubleshoot the preston that your brain was focused enough to do the error checking either via checksum or eyeball or other methods.

simple way to make sure all your content is there at the end of the night, keep only two drives going. at the end of the night if the numbers match, you are in business. then i take the transcodes and m.movs and load them into fcp and make sure they match perfectly. then i do a <apple><shift><4> and get a screen grab of each drive to verify and prove that everything was copied as shot.

you can't do that if you wiped the drive. moreover, this footage can only be edited electronically and all electronic edit systems have sort functions in their file management systems, sort by timecode and you have your shoot order if you are concerned about the appended nomenclature.

it's a brave new world, the drive and clip number system works well, teach scripty how it works and let your editor have a clue too and everyone will be happy, at least have scripty keep track of drive and clip on each new setup.

if you dont like how i do it...then do something else. it has worked perfectly for all the jobs listed.

ok, crictics start your engines..
 
Your system sounds a lot like the system I used on the feature I worked on as DIT, 2nd AC and Video Assist in June and July (my first full feature).

We only shot on the drives - two per day which were swapped during lunch. We had a total of four RED Drives and the first thing I did was label them before we started shooting. Every time I swapped drives I would let both the scripter and sound guy know and they would increment a number in their systems for consistency with editing later on (this is basically translates to the drive number system in the RED). The scripter/continuity-girl would note what number the disk was so we could track back any potential problems later on. Every day at lunch I would back up the first drive to my Caldigit VR (Raid 1) and then mark it with RED tape and label it with a unique number referring to the overall drive change and shooting day. At wrap I would back up the second drive to my CalDigit VR and label that in the same manner. The sound guy would pass me his CF cards, which I would back up along with the footage. When I got back to the hotel I would back up the files from the Caldigit VR to a RAID 5, on drives in my Mac Pro, an external SATA and G-Tech drive for transportation purposes (we were shooting out of the country most of the film and had to send footage home every 3-4 days). The Caldigit VR will hold a few days of footage for additional safety if you want to wear both a belt and suspenders). Also - every night I would go through every shot on the drives, check the slate and make sure that that everything matched up. When I was absolutely sure that everything was copied into each of the destinations then I would label the drives as "backed up" and they would go into rotation.

Making dailies wasn't part of my job description, but I did it on a few occasions when the exec. producer was with us on location and wanted to see how everything was coming along.

I made absolutely sure that anyone who touched my gear on the production knew that it was to be handled with extreme care and not to be placed unattended at any point. I was also in charge of the camera truck in terms of unloading and packing the stuff, so I made an effort to label all the shelves so each case had it's own place. It takes 5 minutes to do, but it will save you so much time in the long run - especially when you send a runner to pick up something for you in the truck.

The deal I made with the DP and AC was that I was the only person to mount, unmount and format ANY drives on the camera. Before formatting any drive in camera I would quickly do a playback to see what was actually on the drive - just to be sure I wasn't deleting something we just recorded (call me paranoid).

My suggestion for anyone going into this kind of job is simply to know your sh*t and "take charge". Be ready to stand your ground and defend your position. Most of what you do is somewhat "invisible" and people will try to make you bend your rules to accommodate their own needs - so you need to tell them that you need to do things your way to make sure you do your work properly. Someone might be pissed off a little, but it will give you a great deal of respect on set.
 
Just imagine for a second what some people would pay to have a trained and working professional like Dino tell them in a lecture what he just wrote for free! Thanks Dino!
 
One of the issues that raises it's head here is that we essentially have a new position on the crew and the duties and expectations of that crew member are not written in stone. Is S/He a DIT, a loader or a data wrangler? Are they part of the camera department or more akin to a video playback operator?
Should there be a hierarchy in the red data world? Should only people as experienced as Dino be allowed to call themselves DITs? Sometimes I only need someone to transfer and double check the footage, not create looks on set - what should this technician be called?
Maybe this discussion can go some way to establishing what the expectations of a red DIT are.
More questions than answers,I know.

Shane.
 
I've enjoyed this post this morning. Impressive list there dino. Certainly makes me pay attention to your advice. Thanks for sharing it here.
 
Very valid questions, Shane. But as said before - every job is different as is the composition of the camera department. Sometimes you need to be able to do a bit of everything and at other times you need to be able to do just one specific thing. While it is true that the term "DIT" more or less had it's birth along with the birth of RED, the term to me should be used about someone who knows how to look at and analyze potential problems in the image. A RED Tech is obviously someone who knows everything there is to know about the RED and associated software applications. Usually you'll see that a RED Tech and DIT covers some of the same areas, which is why they will usually call themselves accordingly. Most of the people in this kind of work will be able to a bit of everything. On a few occasions I've heard people referring to themselves as "data wranglers". It would be nice with some sort of "stamp of approval" but as it is with this industry - your resume comes first and if people like what you do then they will recommend you and the phone will start ringing. Looks like Dino has done an excellent job in the past and we should all listen carefully to what he has to say - and adapt what he's learned to our own situation.
 
dino g said:
quickly...

i use two drives per camera per day.

i label the drive a001 & a002, on day one; a003 & a004 on day two, a005 & a006 on day three and so on; same thing with b, c, d cameras.

why dont you reformat after every download and have the drive numbers go up like a film shoot?

because this is not film, it is digital and why would you ever want to erase footage on the day of production.

moreover, a set is a very hectic place and my job on set is to keep exposure correct per setup, make sure the camera is set up with the proper settings per shot, download and replicate footage, transcode, QC & QA (see this article for some insight on the difference) , packaging, labeling and in some cases shipping.

these jobs cannot all happen simultaneously, specifically, if you download a drive and then wipe it during the day, how are you going to double check it to see if everything is there at the end of the job? you can't if you wipe it because it is gone and you can only hope that between setups and switching from 2k to 3k and changing from handheld to studio mode and helping to put the zoom up with the proper microforce cable and helping the ac troubleshoot the preston that your brain was focused enough to do the error checking either via checksum or eyeball or other methods.

simple way to make sure all your content is there at the end of the night, keep only two drives going. at the end of the night if the numbers match, you are in business. then i take the transcodes and m.movs and load them into fcp and make sure they match perfectly. then i do a <apple><shift><4> and get a screen grab of each drive to verify and prove that everything was copied as shot.

you can't do that if you wiped the drive. moreover, this footage can only be edited electronically and all electronic edit systems have sort functions in their file management systems, sort by timecode and you have your shoot order if you are concerned about the appended nomenclature.

it's a brave new world, the drive and clip number system works well, teach scripty how it works and let your editor have a clue too and everyone will be happy, at least have scripty keep track of drive and clip on each new setup.

if you dont like how i do it...then do something else. it has worked perfectly for all the jobs listed.

ok, crictics start your engines..
Click to expand...
I completely agree with this approach. I always have two drives in rotation, and at the end of the day I can always go back to them and check if something doesn't seem right on the backups. the way I break up the shooting day, I never have to format a drive. Labeling the drives is very smart and keeps everyone on the same page.

And I also agree about the drive and clip numbering system. You do have to explain it sometimes if the scripty has never worked with RED before, but once you do they usually get it and don't complain. It's all about establishing consistency and making sure there is no confusion from any of the departments. I always provide notes for editorial as well, anything that might help them when they receive the footage. Communication can prevent most problems.

One other thing I'd like to add is to make sure you have good power. For me, a UPS is a must on your cart. And make sure you have the most battery backup you can afford so if production loses power, you don't get yourself screwed during a transfer. Ideally, it would be great if you have battery backup that lasts more than a few minutes because you might not be right at your cart when power goes down, and might need some time to get there. You'd be amazed how many brownouts can occur during the day. If you are not on battery backup, you can be putting your data at risk.
 
Tony Lorentzen said:
While it is true that the term "DIT" more or less had it's birth along with the birth of RED, the term to me should be used about someone who knows how to look at and analyze potential problems in the image.
Click to expand...
Actually, the term DIT has been around a while, even before RED. In the early days of HD, the role of DIT came along to paint the image that would get baked in. Using waveform monitors, vectorscopes, and paintboxes these technicians have a lot to do with the final image that is laid to tape or to files. With RED, that DIT role is a bit different in the sense that your decisions can be erased later in post. So, even if you do a bit of painting with metadata, it can all go away with the reset button.
 
Great posts guys! If you think about the RED reels while you read through Dino's list, you'll hopefully remember how much of that material ended up in the RED reel.

There is all kinds of great advice in Dino and Steve Sherrick's posts. For people who don't have their own system, or that are looking for improvements to their systems, you just got some really good suggestions.
 
red reel 1 (plaster city christmas party reel 2007)= 60% dino jobs
red reel 2 (nab reel 2008) = 50% dino jobs
red reel 3 (ibc 2008) - 30% dino jobs
red reel 4 (nab 2009) - 20% dino jobs
red reel 5 (ibc 2009) - being completed now, i bet it will be more like 10% or less of my stuff.

which is great for red as now they dont have to rely on just my stuff for outstanding images...great job community for stepping it up and spreading it around.
 
regarding battery backup,

i bring 4 battery backups to set,

two for the computers (1500 VA) and two for the cameras (450 VA)...each computer and camera should have it's own backup.

and...bring your own power cables and try to always use house power as it will make the electrical department happy as they will not have to wait for you to wrap..also makes producers happy too as they pay less overtime.
 
Yes, I second that on the power cables ("single extensions")
The electrics are usually surprised and happy that they don't have to wait for my department to complete their wrap.
Since we seem to always be the last ones there besides production... ;)
Cheers,
Harry
 
totally agree on batteries and for that matter all your gear
 
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