4K has been around for quite some time, but most productions still work with HD setups. This article shines some light on the current state of 4K and how to get it off the ground with Livegrade!
One of the most important goals of data management on set is to maintain the integrity and completeness of all data recorded and created during production.This article is the first of a two-part series providing a basic introduction to the technical aspects of data management. We will take a closer look at what data integrity means, some potential issues that might threaten it, and how checksums and hash algorithms help protect it.
ALE files are widely used to transfer metadata. Therefore it’s worth taking a look at how ALEs are composed and which settings affect their usability.
To avoid costly retouching in post-production, it is recommended to regularly check the state of the sensor protection glass and clean it if necessary. So, how do you do that?This article outlines how to check your sensor for dirt using the Pomfort grading tools and also provide useful background information on soiled sensors and related consequences.
For the unlikely yet possible event that your troubleshooting suggests the card you try to copy is faulty or damaged, this second part provides further input on how to handle such a rare but stressful situation.
What is to do if Silverstack indicates that your offload or verification job fails? In this article, we’re diving into error messages and strategies to deal with them.
In this article, we want to take a closer look at the design and history of AMF and illustrate how it can transfer look information from system to system by the example of Livegrade.
The vast amount of metadata worth tracking in film productions steadily grows. As a result, it can be challenging to stay on top of things when trying to properly manage it. Collecting data from many different sources, associating metadata in a way that benefits further production steps, validating the integrity of information, and preparing metadata for distribution: All these demanding tasks have their origin on set, and you, as a DIT, are in charge.
In this article, DITs from different parts of the world share their experiences and thus shine some light on current slating practices. Sure, labeling and operating the Slate is the 2nd AC’s responsibility. However, dealing with the resulting metadata is in the hands of the DIT, who uses slate information to associate looks, camera clips, and other assets that belong to the same scene.
Settings for signal ranges always loom as a source of imaging issues, especially when images are converted from RGB to Y’CbCr and back for applying 3D LUTs. In this article, we want to give an overview of where these topics are relevant on set and how to make sure that signal and device configurations match.