Part one of this article discusses the origin and ideas behind “log” images as produced in almost every camera system in digital cinematography. In this second part we want to take a closer look at how you work with these images – be it as the “log” live output of the camera as an HD-SDI signal, or as the “log” footage recorded on camera media. We will discuss how to benefit from typical look workflows on set within the camera department and beyond. As the setup for dealing with log signals on set varies with the expected level of interactivity, we illustrate the benefits in five scenarios.
The DIT handles a variety of different tasks on set. While the creation of camera backups might still be the most well-known to others, his work in fact goes far beyond that. And so do the benefits he creates for others. In this article we will outline 5 examples that show how others benefit from the work of the DIT and discuss how professional software can support the DIT.
On a film set it is the data wrangler’s job to securely copy & collect all the media assets (including camera originals, audio files and more) that have been produced on a shooting day. As soon as the different assets have to be organized together in a meaningful structure the question comes up how this should be done in the best way.
A good backup software for filmmakers naturally should simplify the backup procedure (e.g. by creating multiple copies in one run), but it should also let you be fully confident that your copies are complete and verified. In this article we will outline some of the criteria that a good backup software should fulfill, and describe how they are implemented in our on-set data management application Silverstack.
In order to work with the live camera metadata at your DIT cart, the first step is to make it available in the on-set software. To make sure you know all about the options, the following article will give you an overview of the currently possible setups and hardware configurations for capturing camera metadata with LiveGrade Pro.
Copying and verifying source material is one of the most essential tasks of data wranglers and DITs alike. Silverstack provides various ways and many levels of detail to control and complete copy and verification tasks: It helps entry level users by reducing complexity, as well as advanced users by giving them more options.
With today’s digital film cameras, a lot of data is produced and recorded on set. Most of the time the actual image and sound data is accompanied by various kinds of metadata. Some of this metadata is broadly available, such as the running time code overlaid in video monitors. Other metadata is not presented so prominently – especially when the benefits of carrying this information further on are less obvious on set.
Almost every professional and semi-professional camera these days offers the recording and / or live output of the image in a “log” mode. In this article we outline, why this output mode can be very useful and what you can do with it.
If you are new to data wrangling for film productions, or if you are looking for some tips on the involved activities, you are at the right place. In this article we want to point out the most important aspects of the responsibility for ensuring safe handling of all the produced camera data. Here are our 7 tips for data wrangling.
When you are working as a professional DIT it might at some point be the case that you are asked to go one step beyond the backup of camera cards, and also create dailies on set or near set. This extends your responsibilities and raises a lot of additional questions that need to be addressed.
To help you get started with proxy creation on set we compiled a little guide that outlines a selection of 3 of the extended duties that come along with the new responsibilities.
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