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If we hire you
and your camera what do we need to provide?
What type of
harddrive(s) should we supply?
What is your role as the DIT?
We need to start editing as soon
as possible after the shoot how long will it take?
What's included with the Red One Camera?
What's included in the Camera Kit Bag?
What's included with the Mac Pro?
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If we hire you
and your camera what do we need to provide?
You will need to supply Lenses, Grip (Tripods, steadicam
or dolly) and Monitoring (HD-SDI compatible
monitors such as the popular Panasonic BT-LH1700w with HD-SDI
cable drums and cable lengths) (Please note, for larger lenses you may want to hire a larger mattebox, the MB19 I can provide fits a variety of lenses so please contact me beforehand to check if it will work correctly for you). You can hire all of this extra equipment
from one of the many rental houses in the UK. Most DoP's have
their favoured grips, rental houses and choice of lenses so
it's not in my interest to provide a limited amount of equipment
in these sectors and instead focus on providing the best DIT
infrastructure for your shoot.
I provide a complete camera kit (see further down the page for complete listing). If
you are unsure of whether something will work or not please
forward a list of the kit and I will consult as to whether
there are any issues you may need to think of (For example:
Hiring a Video Assist may require an HD to SD down convertor
to provide a signal to work on their monitors).
You will need to provide at least one harddrive to take your footage away on
(See below for more information).
You will also need to provide a copy of your insurance for the shoot. |
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What type of
harddrive(s) should we supply?
Ideally you need to supply a harddrive(s) which has eSATA and Firewire 800 (FW800) capabilities.
These two means of plugging the drive into a computer are two of the fastest,
mainstream means of transferring data. A drive with both will be usable in all
good post production facilities. USB 2.0 and Firewire 400 are too slow. An average
shoot day is typically no more than 250GB's of rushes for one camera. I would
go with a minimum of 500GB to be on the safe side as harddrives that are too
full tend to slow down.
It is possilbe to use a 1TB drive for 2 or
3 shoot days, even if they are seperate productions (This is dependent on what
you are shooting, how long for and how long your takes are). If you do not wish
to supply two harddrive's on set please make sure you have at least one other
copy created immediately after the shoot using a checksum application to ensure
a perfect backup. A further backup will also be made during
the shoot and kept on my own mirrored RAID for upto 14 days after the shoot. Do not rely
on just one copy of the footage to last forever.
My personal
preference are the following drives, they are reliable, fast and can be set to RAID 1 for making a mirrored copy within the drive (So should one of the two built in drives fail you can still get the footage back):
1TB GRaid GTECH drive
Alternatively these small rugged Lacie drives offer a good means of backup on location with little or no power supply available, although they don't offer as fast or reliable backups as the GRaid:
LaCie Rugged XL 1TB Hard Disk |
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What is your role as the DIT?
My role as the DIT is in some ways similar to a clapper loader
on 35mm film productions but in others very different. As well
as knowing all about the camera, it's pro's and con's and technical
aspects the DIT must know all about the post workflow of the
many different applications from Baselights to Apple Color and
Avid to Final Cut. I help to setup the camera at the begnning
of the day. I then check with the Director of Photography and
focus puller that they are happy with the settings on the camera.
I handle the footage
from the camera from formatting media through to the creation
of backups whilst running checks on the shots throughout
the day. Often the DoP or focus puller will ask me to check backed
up footage on certain elements of a shot from noise in the dark
areas to how something in shot is clipping or simply to check
the focus on a tricky focus pull. I will also grade the footage
to the DoP's desired look and clients satisfaction, giving them
an idea of the scope of choices once they begin colour grading
further down the line.
More often than not I will liase with post production
over delivery of the footage and which file type it is required
in. Often I will provide converted offline files for the editor
or 1080p HD footage for an online. I also provide other helpful
features between set and post that will help make your editors
life easier.
The task of simply backing up data is relatively simple but there
are issues one must always watch out for and be extremely careful
of. With every task of the DIT there are very subtle nuances
that must be checked and double checked against. I know of entire
shoots that have lost all their footage or many important shots
because they didn't use an experienced DIT or the correct protocols.
There are some who feel the role of the DIT
is not an essential one and that a four day course can teach
you everything you need to know. But the fact of the matter is
that with experience and a continually changing understanding
of the many different Post production methods, new tools, features,
accessories and Red camera firmware upgrades means that a good
DIT could be the difference between a succesful and unsuccesful
shoot.
I will also transcode the footage into the required file type for offline or online during the shoot if so required.
Owning my own camera allows me to continually improve my own
understanding and effectiveness in a production environment. |
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We need to start editing as soon
as possible after the shoot how long will it take?
I can convert your files to practically any format by the end of the shootday. Naturally this is dependant on the amount of footage shot and the amount of cameras being used. But for the average shoot day I can transcode your rushes to HD1080p Full quality files of your choice (For example: Apple ProRes (HQ) or MXF). I charge £1.50 per minute (£90 per hour) of footage for file conversion (Average shootday is approx. 1.5 hours of footage - £135). |
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What's included with the Red One Camera?
RED ONE CAMERA BODY
ARRI MB19 MATTEBOX
ARRI FF4 FOLLOW FOCUS
4 x RED BATTERIES
2 x CHARGERS
2 x RED DRIVES (Approx 6 hours record time)
4 x COMPACT FLASH
VIEWFINDER (EVF)
VIEWFINDER MOUNT (Element Technica)
ON BOARD MONITOR (Red 5.6" Monitor)
COMPACT FLASH MODULE
ARRI BRIDGE PLATE (Element Technica Hybrid plate)
ARRI BASE PLATE (Element Technica 12" plate, can fit directly to O'Connor heads)
19mm STEEL BARS (18" and 12")
RED DRIVE CAGE W/ BATTERY MOUNT
TOP HANDLES
NOGA ARMS
HANDLES AND SHOULDER MOUNT
RED LEMO CABLES
MINI-BNC TO BNC ADAPTORS
MINI-XLR TO XLR ADAPTORS
PL MOUNT
ALUMINIUM FLIGHTCASE |
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What's included in the Camera Kit Bag?
HDLINK (FOR CONNECTING CAMERA TO DVI OR HDMI CAPABLE MONITORS USING BNC )
CLAPPER BOARD
10M FOCUS PULLER TAPE MEASURER
FOCUS CHART
FOLLOW FOCUS MARKERS
WHITE TAPE
BLACK TAPE
4' x 4' POLYBAGS
BNC T CONNECTORS
BNC TO BNC CONNECTORS
CLOTHS
HURRICANE BLOWER
KENAIR NOZZLE
KENAIR REFILL CAN
DULLING SPRAY
12" SAUSAGE MARKERS
CHINAGRAPH WHITE
FLAT HEAD 'T' SCREW DRIVER
MAGLITE AA TORCH
DOUBLE SIDED HOOK & LOOP FASTENER 5M BLACK
VELCRO
ASSORTMENT OF TOOLS
ASSORTMENT OF CABLES
... AND MORE
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What's included with the Mac Pro?
MAC PRO TOWER
HP 24" MONITOR
RED ROCKET CARD
BUILT IN 2TB MIRRORED RAID ARRAY
BUILT IN 2TB STRIPED RAID ARRAY
RUNS MAC OS AND WINDOWS 7
- CROSS PLATFORM FILE SHARING
VARIOUS RED BASED/RELATED SOFTWARE
CHECKSUM SOFTWARE FOR ACCURATE BACKUP
ESATA TO REDDRIVE CONNECTION FOR FASTER BACKUP/CHECKSUM
SPARE ESATA/USB PORTABLE HARDDRIVE
SURGE PROTECTION AND UPS BATTERY BACKUP PROTECTING YOUR DRIVES & FOOTAGE!
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