Horror movies are a genre of their very own, captivating viewers with their extremely thrilling and often dark and gruesome story lines. Out of the many horror movies out there, few manage to do this as well as the “Halloween” movies. And the movie series’ newest addition is no exception to that. Andy Bader recently worked as the main unit DIT on the new “Halloween” movie.
A film set is a busy place. If you are responsible for offloading footage – either as part of other responsibilities, or as a designated data wrangler – there are always a lot of things to take care of. Usually more than expected. Therefore it makes sense to look out for helpers that reduce manual work, help you deliver a great job and give you time to focus on all those other things that also need your attention.
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.
A DIT cart can be a heavy and complex piece of equipment, with tons cords and data cables hanging everywhere – but it doesn’t have to be. The cart of DIT Sam Petrov for example follows a sleek design where not a single cord is visible from the front. In a recent interview Sam shares some details on his equipment, and explains what Steve Jobs has to do with the design of his cart.
There is more than one reason not to offload camera footage in macOS’s Finder, but besides making sure your copy is identical and secure, proper reporting possibilites rank high in the list of benefits from using a professional software to backup camera footage.
Shooting a historical movie can be an exciting experience. The historical costumes, locations, and settings often seem to take not only the viewer, but also the entire production team back in time. Steve Liu had such an experience on the Chinese production ‘Hidden Man’, on which he worked as a DIT supervisor. Set in the 1937 Beijing, the movie gives a lot of insights into the old Republic of China at the time. In a recent interview Steve shares some details on his work on this production.
The Silverstack Offload Manager supports your offloading tasks on set: It enables secure backups, and documents your work in comprehensive reports. Besides these obvious gains, there are a number of advantages “under the hood”. These may not be obvious at first, but can make your daily work on set significantly easier. In this blogpost we want to discuss some of these benefits.
The “one-take” workflow video from Light Iron / Panavision shows the new integration of LiveGrade Pro and the Panavision DXL2 camera.
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.
