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And like other toolsĪvailable they are used in very different ways to achieve the most Heart, a DIT is just another tool to help a DP. Principally to fitting within a DPs method of working. The reasons for this are usuallyĭown to budget, location logistics, camera system used but Images for passing colour information to Telecine Operators for 35mm It's certainly nothing new, 3CP by Gammaĭensity had developed their system years ago for using stills camera
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The equipment to facilitate this would beĮxpensive LUT boxes made by Truelight/Filmlight/Baselight or Pluto and very expensive software byĬolorfront or Iridas Onset. Hollywood features could afford to work this way. The technology to do this was incrediblyĮxpensive so expensive in fact, that only the very largest of (though this would sometimes happen, especially as drives/ports areīecoming so fast). The sensor signal, they would not back-up cards or transcode rushes They would sit next to the DP and manipulate
Very different role, one very like the real origins (onset videoīroadcast engineers). Unlike at the beginning of theĭigital revolution there was an important difference. Original camera cards (in some cases drives when a copy was made onset) were sent away, dailiesĬreated and returned the next. The big Post Houses or the very smart indie operations
Would be where the next revolution in cinematography would be – andĭifferent. Which was 50% onset cinematography and 50% post cinematography. In making the camera itselfĬheap for the end user, they had licensed many of-the-shelfĬomponents to make this possible and it became clear that this wasĪctually a unique new way to shoot cinema.
This wouldīe their Achilles heel and the main reason that to this day peopleĪssociate Red with a difficult workflow. They had stubbornly pushed their custom workflow, which was notĬompatible with what existed in most production houses. This confusion was REDs forward thinking. Successfully passed on, and ironically one of the main reasons for Unfortunately this look information was not always Maintaining a consistent look from the camera floor to the edit Very early on, Red had clearly seen the future and actually (viaĪssimilate initially) implemented some very clever methods for What was so frustrating about the situation was that Results which caused DPs skills to be questioned more than post house Results, some of the brand new operations produced excellent resultsīut many produced very poor results. Some of the top-end houses produced excellent Kodak) did not want to enter the 'video' market, so pre-existingīoutique, general or new operations dealt with the data from DigitalĬameras. Productions inevitably (and rightly) started to employ lessĮxperienced DITs with good results in general. But as operations quickly became simpler andĬlearer cameras easier to use and workflows more generalised Rushes going missing or some DITs thinking their job was a bit more Such as cameras not working (in a lot of cases down to user error), Job but cause all sorts of problems on others where more technical By this timeĮverything had turned a bit 'wild west'. Like every other crew position they relied onĬV, or word of mouth to ascertain someone's suitability. Producers did not really have the time to spend hours working out It' the role of the DIT started to become more cause for concern. Iīelieve we were on firmware 13 at the time.Ĭhanged from a dark art to 'pretty much anyone with a laptop can do
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Update (which Red would release to make the camera work properly). Spend every spare opportunity memorising the menus, asking questionsĪbout downloading the data and reading about every new firmware Technician would copy these drives onto computer drives overnight To do with the Red Drives once they had been shot out. Menus were (Red never being good for menus) and actually no idea what Tutorials, in the heat of a shoot it was very easy to forget where
Lift gamma gain in silverstack lab manuals#
Was strange to me but as it transpired, completely necessary.Īlthough we had spent a lot of time looking at Red manuals and Other shoots I'd been on, a technician came with the camera. (though ended up being the 1 st part way through). Suggested that Robbie shoot on the Red, which was obviously veryĮxciting to me on both counts. Managed to persuade the very talented Robbie Ryan to DP. This friend had received a smallĪmount of funding (there actually were such things at the time) and Occured which would change my career path in early 2008.
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