When you are assigned to run the complete process of secure media backups and creation of proxy clips (dailies) for a movie shoot on set, it can be very well possible that you face a pretty heavy workload. To stay on top of the game it is important that you can rely on a tool set that gives you the possibility to execute your work in time.
In case you are thinking about starting live grading as part of your on-set service, and you are not sure about the necessary hardware that is needed around Livegrade – this might be your article. We will lay out typical hardware configurations from a very simple setup with just one camera and a notebook up to a full DIT cart with multiple monitors, LUT boxes, and video routing.
The Silverstack Cloud is here! And with it a lot of exciting new features to talk about. Since Pomfort released the Silverstack Cloud Beta last week, many Silverstack users have signed up for the cloud to test it out properly. In the meantime we’ve already received decent feedback on its functionalities along with some specific questions. Therefore, we decided to collect all the input that has been provided by our beta users so far, and set up a FAQ-like blog article to answer the most pressing questions here.
Interviewing famous bands can be exciting enough. However, rushing around locations to get all necessary shooting material can result in a nerve-racking challenge. Therefore, offloading movie data on the go requires thorough planning. The guys of Clockwork 9 kept that in mind while shooting the documentary „Live at the Agora“. With a mobile setup and reliable software for their data management they made sure to accomplish their daily tasks as smoothly as possible.
HDE encoding for ARRIRAW clips is a new technology that has been introduced just recently, and we received quite a few questions concerning the data management of such clips. Those questions concern the overall workflow, the general understanding how to properly handle HDE .ARX sequences in a secure backup process, and how this is covered in our software products for data management.
In this article we want to give you an overview of all the ways to customize Livegrade Pro and Livegrade Studio to the needs of your specific hardware setup as well as to the requirements of the production.
The way a DIT cart is assembled not only depends on the preferences of the DIT itself, but also on the environment they are working in. The perfect combination of required features was quite clear to DIT Timur Gavrilenko when he designed his individual cart: As flexible as possible for high mobility on set, yet powerful enough for more demanding workflows.
When copying camera footage, most operators are familiar with the importance of verifying a good copy. ‘Verifying’ in this case usually refers to verifying the destination, e.g. making sure that the copied file at its destination are the same as on the source location. However, another possible process is often not mentioned in that context – and that is the source verification.
The setup on a film set does not need to become very complex before a video router becomes a helpful addition to the DIT cart. Typical monitors have not more than two inputs, so simply switching between two cameras and an additional reference image to be displayed on that one monitor means plugging video cables.
This article highlights how Livegrade Pro’s and Livegrade Studio’s implementation of the ASC-CDL standard impacts your work. We’ll revisit the details about the parameters and filter formula specified by ASC-CDL, discuss the different interaction types in the software, and show an example for setting up the color grading in multiple nodes.
