5/4/2023 0 Comments Silverstack setupsNow, we DITs have become the base of operations when it comes to every piece of technology on set. Production wanted us to handle lighting, image routing, live color grading. On top of getting dailies and transcoding, technology allowed for live color grading on-set. “As digital technology started replacing all of the old film tools, the roles of our DIT positions evolved too. So I went around as a downloader and first pass colorist for this media.” Converting files took a long time and some people even found it crazy that a digital camera could do the same thing as film. Remember that this was when digital cinema cameras were still brand new. When I moved over to Los Angeles after film school to work in the industry, I found a lot of productions required someone to also color grade this footage. “Back then, my job was to get the data from the cameras and transcode it into a usable format. This was around the time that digital cameras first started making an appearance, and filmmakers were scrambling to figure out how to work around the technology.” I was hired as an intern for this production company that purchased two of the first 25 RED cameras ever made. I’ve had a passion for film and shooting ever since my teenage years, which made me decide to attend film school in Colorado in the early 2000s. “The start of my path down this road can be traced to loving film growing up. He shares with us how the relatively new DIT position has changed since its inception, and what essentials he keeps on his cart for productions. Based in Hollywood CA, Chris has a DIT history spanning over 10 years, having worked on some impressive titles like Captain America: Winter Soldier, Furious 7, Star Trek: Beyond, and most recently the eponymous remake of the famous 80s show, Magnum P.I. And unlike positions such as cam ops or ACs, the roles of DITs are always evolving.Ĭhris Cavanaugh is all too familiar with this changing dynamic. These days, DITs juggle multiple tasks ranging from routing video, dailies, color grading, image management and much more. DITs are there to make sure all of the gear works smoothly.” - Chris Cavanaugh, Local 600 DIT.īut as any DIT will tell you, their roles encompass far more than just being the repair guy on production. Whether it’s a monitor going dark, camera setting change, lighting issue, flicker issue, anything. MP4/MOV file renaming: Option to sort clips by timecode, creation date or file name before adding a unique number.“When shit hits the fan on set, DITs are the one everyone looks at to get it fixed. ExportįCPXML: Export one or multiple bins or folders with synced audio files as events and projects for Final Cut Pro.ĪLE: New options to include ACES look information, to export camera letters lowercased and to leave the “clip names”-column blank. PerformanceĬanon RAW: GPU acceleration for CRM decoding now also available on M1 Macs. Load CLF in LMT: Load Common LUT Format (CLF) files in LMT node for round-tripping in ACES workflows.ĪCES Look Metadata: The metadata fields “ACES Input Transform”, “ACES Input TransformID”, “ACES Output Transform”, “ACES Output TransformID”, “LMT Nodes” and “Reference Gamut Compress” reflects ACES look metadata in the general info and the clips table to make it available in reports. ACES WorkflowĪCES v1.3: Support for ACES version 1.3.0 including Reference Gamut Compress. LUT Interpolation: Choose between different interpolation methods like trilinear and tetrahedral interpolation. Knee Curve Node: Create simple “knee” and “toe” curve adjustments to quickly modify contrast range and limits of highlights and shadows. Look Compatibility: Support for latest Livegrade looks. ShotHub Library Sync: Improved robustness in unreliable network conditions, better error handling and user interface when syncing the clip library with Pomfort ShotHub. Cloud Backup & Syncĭirect S3 Upload: Backup your files in an AWS S3 bucket or other service that implements the S3 API. Silverstack also lets you instantly secure data, preview source material, and create all kinds of reports based on one central metadata library. If you are not familiar with Silverstack, it is software for securely backing up footage and ingesting data in a fast, organized, and transparent way. Improvements include Final Cut Pro Export, the ability to register your AWS account in Silverstack Lab and safely backup your files in an S3 bucket or other service that implements the S3 API, as well as ACES workflow enhancements. Pomfort has released Version 8.2 of Silverstack Lab.
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