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.
When creating dailies on set or near set, you want to create them in a way that makes the following production steps as smooth as possible. Passing on relevant metadata together with the transcoded clips can contribute to that. In this article we will evaluate the benefits of passing on metadata together with transcoded clips, introduce different ways of doing so, and explain how Silverstack Lab helps with it.
Capturing a live performance can be challenging – for the DP and camera assistant, as well as for the DIT involved. When Ryan Nguyen worked as DIT on the Netflix Comedy Special “Happy to Be Here” by Standup Comedian Tig Notaro, he had to make sure that 15 hours of footage from the night were secured, QC’ed and transcoded.
Are you new to Silverstack Lab and curious to learn more about getting started with the software? The following article will give you a comprehensive overview of video tutorials that outline everything that’s helpful to know when starting to work with Silverstack Lab.
Getting all your technical equipment and the entire crew to the designated shooting location can easily become a challenging scenario, especially when shooting at remote locations with hardly any road access. That’s exactly what DIT Stefan Weßling experienced on the production „Capelli Code“, when he had to get his setup to a location in the Swiss Alps that was only reachable by a 45-minutes ride on a snowcat.
DIT carts are used in a variety of different settings. Sometimes there is space for a cart that’s large enough to host your entire equipment, while other situations require a more compact and mobile setup. In order to best meet the requirements of all those different settings, Takeshi Yamaguchi works with three different carts.
