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.
Configuring different dailies deliverables with specific requirements is an important part of the DIT’s responsibility when transcoding on set. This article discusses such requirements for dailies, and shows how Silverstack Lab can come in handy for that purpose with a concrete example concerning audio.
When talking about the hardware integrations of LiveGrade Pro we often get asked about the best LUT box to use: “Which is the best LUT box for the film set?” or “Which LUT box do you recommend to work with your software?”. LiveGrade works with a broad range of LUT boxes which in the end leaves you spoilt for choice.
We have recently been asked in support which storage on set solution we would recommend. This is a tricky question to answer remotely with only little knowledge of the production environment.
It made me think if we can somehow objectify this question and break it down to define general criteria for storage on set. Read my thoughts on this which finally end up with six criteria for storage on set you can use to make your very own choice.
In this video by Teradek, Director of Photography Paul Cameron talks about developing the look for the HBO TV series “Westworld” and explains how managing looks, a seamless workflows, and a quick setup are crucial for a DP’s work.