What a DIT needs to know about the RED

[Finner]

Personally I find the "new" position of DIT, DoPE, Clapperloader, etc... overrated. I love to keep things simple and hate it when the camera department becomes more important than the talents. Well, should have shut up...

Hans

I see a new shift of the position of the clapper/loader. We are finding that a video playback/ data manager is a good combo. On most sets a video playback position is really only 1/2 a job and involves a lot of sitting around. Since the playback setup has a cart and needs power anyway adding data management into the loop is quite simple.

 

[Tom Lowe]

Fascinating thread.

It seems like the DIT role is fairly well defined already by that post from the 600's PDF. This applies especially well to Red One owners, who should know their cameras better than anyone else on set.

The role of "data manager" or wrangler would be a second position on bigger shows. This person is mainly responsible for workflow and the backing up and processing of data, and would work under the DIT. So why not follow existing camera dept protocol and make the data manager/wrangler the Assistant DIT? Like a 1st AC.... only he or she would be the "1st DIT" or "Asst. DIT"

This person would essentially apprentice under the DIT (in many cases the Red One camera owner) and learn their job.

 

[Anthony S. Pratt]

My 10c on this is that a DIT is going to be pretty much whatever the production says he is. It can be as simple as backing up data (and nothing more) or much more complex (where they'd be relied upon for all camera settings and operation beyond the actual shooting).

Yesterday I was vid-split as well, recording a MiniDV downconvert for playback, because that's the way they wanted to roll. I was also responsible for setting up and cabling all the monitors.

I think the DIT is a camera department job, as the person they will be communicating with most on set will likely be the 1st AC. Also, however, they should have (in my opinion) a fairly good understanding of the post workflow issues so as to be able to spot any issues that arise on set that may affect post.

And, finally they need to be ready with the RED information when someone asks. If it's a first time for the director, agency, DOP or others then there may be questions or concerns, and they will likely turn to the 'RED Guy' for answers.

At least that's my observations.

Amen, with the addition that the DIT is as critical a liason for the Post Facility (looking after the 'digital negative') as the editorial team DOP/Camera dept. Maybe it's a New Zealand thing!

 

[Shawn R]

Since this is the RedUser.net --What a DIT needs to know about the RED
the main job for the DIT is to know as much as he can to be able to smooth out the wrinkles.
To maintain and build confidence in the camera and workflow. If no one else on set has used the camera before you are on the front lines so be ready to take some flack.

What that knowledge is you can find a lot on here after you wade through the he said/she said crap.

I think someone could write a how to book dividing it into categories of what you need to know for a small budget, medium budget and big budget.

 

[Casey Green]

Good conversation about Data Capture... I'm looking forward to it all getting worked out in the not too distant future.

Here is another good thread about it:

http://www.reduser.net/forum/showthread.php?t=25238

 

[Vince K]

As a 2nd..I'd like to throw in here.....

The show's I've worked on where actual film stock was nowhere to be seen, I'm basically a 2nd in the normal sense...cleaning & swapping lenses, slating, marking, being invisible, running to Starbucks :angry02:, etc....
However....
....NOW that there is no mag to swap out and short ends to re can, or film stock to be ordered, or negs to be sent out...the extra time I have is spent formatting and swapping out CF cards and hard drives and basically being a second for the DIT ( as I know them to be).
IMO...the 2nd's duties will, I think, just naturally progress into a combination of 2nd for camera and 2nd for DIT....there's just too much involved to do both.

I just think of it as being pingponged between 'A' cam and 'B' cam on bigger shoots....same shit/different pile.

 

[will_w]

2 Parts of being a good DIT

2 Parts of being a good DIT

I have now worked on a couple of RED shoots as DIT both features and national commercials. I have found there is still some confusion about the role of the D.I.T. And let me say - the D.I.T. is not a substitute for a 1st or 2nd.

The guidelines from Local 600 are great. Let me see if I can summarize my thoughts very quickly. I believe the 2 primary roles the DIT plays on set are:

1 - Data Wrangling - this is the easy one. Requires good attention to detail, but not really that much technical knowledge. Basically the same job exists with any camera using a P2 card. Copy the raw footage from the drives or cards to a production hard drive. Verify the transfer. Then erase original media. The data should never be erased until verified, and then it should be backed up. Digital info should always be in at least 2 places.

2 - Digital Imaging Tech - this job is far more skilled and knowledge intensive. This job starts from the sensor back. A good D.I.T. should understand colorspaces, timecodes, digital sensors and how they work, all the menu and software associated with the camera (including codecs) - and most importantly - they need to be able to translate this world of 1s and 0s to ideas like depth of field, tungsten or daylight regarding white balancing, ASA, ISO, T stops, etc...

A good D.I.T. should be able to assist your DP with setting some in-camera looks and ramifications of the codec on post. The D.I.T. should also be able to assist your 1st AC setting the menu buttons to the most-used functions, meters and scopes. The role of a skilled D.I.T. may even involve a little on-set color correction for previews for clients.

I hope this helps.

 

[Evin Grant]

A very important skill for a DIT is set etiquette. It's not uncommon for the DIT to advise the DP and Director about the exposure and capabilities of the camera/build/media and even the most technologically adept DIT will not be long for this world if they can't communicate appropriately and shut up when necessary.

I see a new shift of the position of the clapper/loader. We are finding that a video playback/ data manager is a good combo. On most sets a video playback position is really only 1/2 a job and involves a lot of sitting around. Since the playback setup has a cart and needs power anyway adding data management into the loop is quite simple.

Unfortunately they are covered by two different unions here in the US. So you'd need to be a member of both and pay both dues.:ranting2:

 

[Brent J. Craig]

...Copy the raw footage from the drives or cards to a production hard drive. Verify the transfer. Then erase original media. The data should never be erased until verified, and then it should be backed up.

Not exactly correct. You copy then verify, then you make a backup and verify that. Media should never be erased until you have at least 2 verified copies on different drives. We usually tend to maintain 3 copies just to be safe. The easiest way to do this is to not reuse cards/drives within a shoot day.

A good D.I.T. should be able to assist your DP with setting some in-camera looks and ramifications of the codec on post. The D.I.T. should also be able to assist your 1st AC setting the menu buttons to the most-used functions, meters and scopes.

I think there is no excuse for a 1st AC to not know the camera he is supporting inside and out. Certainly a good DIT can provide a second opinion on technical issues, but I think any 1st AC worth his salt would be completely comfortable and competent in the operation of any camera he is supporting. If I had to run to the DIT for every question the DP asked, I wouldn't be working as a 1st AC for long.

Having said that, the DIT is much more involved in the post side of things and can advise the camera team with regards to processing, transcoding, codecs, output requirements, etc. I completely agree with Evin's comment that the DIT's job is to diplomatically advise both the 1st AC and the DP of exposure and focus issues. It's a critical job and very few people (at this point) know how to do it well.

 

[Chris Parker]

yep. on set etiquette is everything. assuming you are also good at your job. but it's the etiquette that will keep you busy....

 

[Steve Sherrick]

A very important skill for a DIT is set etiquette. It's not uncommon for the DIT to advise the DP and Director about the exposure and capabilities of the camera/build/media and even the most technologically adept DIT will not be long for this world if they can't communicate appropriately and shut up when necessary.

I have heard some unfortunate stories about people getting themselves into trouble because they couldn't help themselves. So, here are some tips based on a Fincher film.

1. First rule of RED DIT Club, speak when spoken to
2. Second rule of RED DIT Club, know the RED better than anyone else on set.
3. Third rule of RED DIT Club, Don't tell EVERYONE how much you know about RED
4. Fourth rule of RED DIT Club, speak when SPOKEN TO
5. Fifth rule of RED DIT Club, enhance the reputation of RED, don't tarnish it

 

[Chris Parker]

and brent, i wished ALL 1st ACs thought like you, and took more responsibility for the camera menus, color, etc. There are very few, and we get to work with you, it is appreciated. We need more time to surf the internet back there

 

[Cüneyt Kaya]

should know a lot about cameras in general
should know a lot about postworklfows
should be able to be a safety
should be a help from preproduction to finishing

shouldnt talk too much on set
shouldnt blame the AC
shouldnt blame the editor
shouldnt say he knows everything

 

[Casey Green]

I see a new shift of the position of the clapper/loader. We are finding that a video playback/ data manager is a good combo. On most sets a video playback position is really only 1/2 a job and involves a lot of sitting around. Since the playback setup has a cart and needs power anyway adding data management into the loop is quite simple.

From past experiences and working along side many Video Assist operators, I would have to strongly disagree with this assessment.

The job of video assist is actually quite involved and should definitely be kept separate from Data Capture and DIT work. I'm sure there may be a few exceptions to the rule, (such as a single Camera locked-down CU shot of a cereal bowl for a commercial), but for the most part, the responsibilities for Video Assist can be complex.

I just worked on a commercial, and the Video Assist operator had to provide 8 monitors, down convert and record the footage, have a DV Clamshell backup for his Digital system, provide a switcher/mixer for doing shot comparison work to previous takes, and log the takes for immediate playback. And this was on a single Camera shoot. Imagine a feature with multiple Cameras, Visual FX Plates, various Dept heads asking for playback for continuity checks (Script Supervisor, Wardrobe, Set Dressing). They all eventually ask to see the reference at some point.

It would be impossible for this one person to even do simple playback for the Director when requested if he/she had to run over to the Camera to change out media or help the DP with Camera settings.

 

[Chris Parker]

i think you are both right. one guy can do video and data on contained one-camera shoots. other than that, it is a good idea to have them separated into two guys. unless the budget is tight, and then they can do the thing where they don't get video assist, they just get monitors for the director/dp/producer like on TV series.

on a big feature, you'd need TWO video assist guys, and at least one data guy, probably two.