good video. this is a job i could enjoy as i'm used to handling all sorts of hardware and data. well at least the data-wrangler part, the rest i could learn quickly.
Hi! Correct me if im wrong, but you can do all this, including color, on one computer, one person, using Silverstack Lab. Its a great piece of software, I highly recommend it! You can even do all the coloring work in LiveGrade, which is made by the same folks, live, before every shot, and it will automatically sync up with the camera clips when you import them into silverstack for copying. Then there you can also edit metadata with all the camera notes, do some assistant editing work, and then render out your proxies and your full daily timeline with burn in's once you're done. Imho minimalism is everything when you dealing with something so precious and having less is actually more. Cheers!
Correct you are sir. Silverstack is indeed mentioned in the piece-- but this was more for those who don't have access to it or want to shell out the $$ for it.
Excellent video! I'm a little confused with the statement "You're more about the image than you are about the data". I was told by another DIT that EVERYTHING is secondary to data backup. Do you guys have another crew member that's responsible for data?
All depends on the size of the crew really. Small crew then the DIT is DEF all about data backup etc. Bigger crew/more money the DIT is more about image control etc. and they have underlings who are dealing with data backup.
Thanks so much for this video! I feel way more confident on my (first) upcoming DIT gig with this video. A quick question: Is there any downside to simply using ChronoSync for both the Redundancies AND the original copying of the raw footage from card-reader to your main RAID drive or whatever drive the editor would be cutting off of? I guess I'm just confused as to why that first step is via Davinci when it seems like it could also be ChronoSync. Again, thanks so much for this video and hope to hear from you soon! Wish me luck on the job.
That's a great question, Jake! A program like ChronoSync is not film specific enough to employ what is called "Checksum" on the footage as it is being initially copied from the card-reader to the drive. You should ALWAYS use DaVinci (or some other program that has "Checksum Verification") when doing your initial offload. It basically makes sure that the footage is being copied properly and isn't available in ChronoSync. Hope that helped and good luck on the gig!
@@NittyGrittyStudios Thanks for the information! Very informative--I never even knew what a checksum was. After doing more research, I presume the tradeoff for running Checksums is that, albeit much more reliable, they're also much more time intensive? thereby being the reason why you only run it for the initial offload before using Chrono for the redundancies? I'm a little concerned as the gig I'm going to be working on will be very heavy run-and-gun, so I almost wonder if check-summing will cause more problems despite its reliability. Again, thanks for schooling me on this stuff--incredibly helpful.
@@NittyGrittyStudios And One more follow-up question to this (answer at your own leisure or none at all, you've already helped tremendously so anything after this point is totally a bonus): Let's say I run a checksum via Davinci, and it sounds the alarm saying there was an error writing a file to the Master/Backup. That's fantastic that I know that, but now what, exactly? Do I simply re-run the clone, try on a different backing software, etc? Sorry for throwing all these questions at you. Thanks again, you're a livesaver!!
@@jakehoner1751 you need to weigh the time/energy saved by NOT running a proper checksum on import with the time/energy/money etc. that you could potentially lose if some files were not properly copied over from the camera card. That is something only you and your production can figure out. And checksum doesn't add THAT much time to the processing IMHO. If you are cloning a card via Davinci and you get an error message in regards to the import/checksum then you need to start importing the card one clip at a time (rather than batch import) until you hit the clip that is causing the error THEN first thing to do is tell the producer or post supervisor (or whoever is in charge of such things on your set) of the error and hopefully they can either a.) re-shoot that shot right away. b.) go to the camera report and see if it is a SUPER important shot (if it was just a false take who cares if it doesn't get copied over?) OR c.) at least give the production an opportunity to pick up the shot in some other way (if the set is already broken down permanently). Every production is different though and there's a lot that goes into all these decisions. This is what a post-supervisor would be doing for the production, dealing with camera, post, DIT etc. to make sure all this stuff is happening and to put things in place for if/when things go wrong. Hope that helps. If you're ever in need of post consulting/supervising feel free to reach out to me over at www.nittygrittystudios.com
So do you create proxies and are those proxies then backed up? Or is all the backed up footage all raw files? I might be a DIT for a short film coming up, this video really helped, thank you!
I do not personally back up my proxies. Can always regenerate them if something goes awry. Back up space is for raw files. 3 copies is 2. 2 copies is only 1. And 1 backup is essentially as good as no backups.
Hey Ryan, Excellent information...sucko sound. Also, who 'timed' (old school for color corrected) your shots? Seems funny watching a video praising the color capabilities of DaVinci Resolve, yet your presentation is rife with color temperature shifts. And, again...is it too much effort to use a decent lavalier?
Thanks for the input but this isn't a film itself but rather a tutorial about making them. If the audio/color issues took away from the information provided I apologize but that's not what this video was for (to impress people with color and sound).
@@NittyGrittyStudios I like it "RAW". You brought us on *set* and the warts, etc. made for, IMHO, a great depiction expectation. You get a Thumbs Up, Subscriber & Notifications. Thank you!
Thanks so much for this! Not enough real bts content like this on youtube.
You are very welcome.
good video. this is a job i could enjoy as i'm used to handling all sorts of hardware and data. well at least the data-wrangler part, the rest i could learn quickly.
Hi!
Correct me if im wrong, but you can do all this, including color, on one computer, one person, using Silverstack Lab. Its a great piece of software, I highly recommend it!
You can even do all the coloring work in LiveGrade, which is made by the same folks, live, before every shot, and it will automatically sync up with the camera clips when you import them into silverstack for copying. Then there you can also edit metadata with all the camera notes, do some assistant editing work, and then render out your proxies and your full daily timeline with burn in's once you're done.
Imho minimalism is everything when you dealing with something so precious and having less is actually more.
Cheers!
Correct you are sir. Silverstack is indeed mentioned in the piece-- but this was more for those who don't have access to it or want to shell out the $$ for it.
I was wondering now if you still use Chronosync or Silverstack or Shot Put Pro?
Excellent video! I'm a little confused with the statement "You're more about the image than you are about the data". I was told by another DIT that EVERYTHING is secondary to data backup. Do you guys have another crew member that's responsible for data?
All depends on the size of the crew really. Small crew then the DIT is DEF all about data backup etc. Bigger crew/more money the DIT is more about image control etc. and they have underlings who are dealing with data backup.
Good video but hope they round a lav mic next time. That reverb is atrocious to hear.
Thanks so much for this video! I feel way more confident on my (first) upcoming DIT gig with this video. A quick question:
Is there any downside to simply using ChronoSync for both the Redundancies AND the original copying of the raw footage from card-reader to your main RAID drive or whatever drive the editor would be cutting off of? I guess I'm just confused as to why that first step is via Davinci when it seems like it could also be ChronoSync.
Again, thanks so much for this video and hope to hear from you soon! Wish me luck on the job.
That's a great question, Jake! A program like ChronoSync is not film specific enough to employ what is called "Checksum" on the footage as it is being initially copied from the card-reader to the drive. You should ALWAYS use DaVinci (or some other program that has "Checksum Verification") when doing your initial offload. It basically makes sure that the footage is being copied properly and isn't available in ChronoSync. Hope that helped and good luck on the gig!
@@NittyGrittyStudios Thanks for the information! Very informative--I never even knew what a checksum was. After doing more research, I presume the tradeoff for running Checksums is that, albeit much more reliable, they're also much more time intensive? thereby being the reason why you only run it for the initial offload before using Chrono for the redundancies? I'm a little concerned as the gig I'm going to be working on will be very heavy run-and-gun, so I almost wonder if check-summing will cause more problems despite its reliability. Again, thanks for schooling me on this stuff--incredibly helpful.
@@NittyGrittyStudios And One more follow-up question to this (answer at your own leisure or none at all, you've already helped tremendously so anything after this point is totally a bonus): Let's say I run a checksum via Davinci, and it sounds the alarm saying there was an error writing a file to the Master/Backup. That's fantastic that I know that, but now what, exactly? Do I simply re-run the clone, try on a different backing software, etc? Sorry for throwing all these questions at you. Thanks again, you're a livesaver!!
@@jakehoner1751 you need to weigh the time/energy saved by NOT running a proper checksum on import with the time/energy/money etc. that you could potentially lose if some files were not properly copied over from the camera card. That is something only you and your production can figure out. And checksum doesn't add THAT much time to the processing IMHO. If you are cloning a card via Davinci and you get an error message in regards to the import/checksum then you need to start importing the card one clip at a time (rather than batch import) until you hit the clip that is causing the error THEN first thing to do is tell the producer or post supervisor (or whoever is in charge of such things on your set) of the error and hopefully they can either a.) re-shoot that shot right away. b.) go to the camera report and see if it is a SUPER important shot (if it was just a false take who cares if it doesn't get copied over?) OR c.) at least give the production an opportunity to pick up the shot in some other way (if the set is already broken down permanently). Every production is different though and there's a lot that goes into all these decisions. This is what a post-supervisor would be doing for the production, dealing with camera, post, DIT etc. to make sure all this stuff is happening and to put things in place for if/when things go wrong. Hope that helps. If you're ever in need of post consulting/supervising feel free to reach out to me over at www.nittygrittystudios.com
great video !
thx for videos
Great workflow.
Thank you kindly, sir.
So do you create proxies and are those proxies then backed up? Or is all the backed up footage all raw files? I might be a DIT for a short film coming up, this video really helped, thank you!
I do not personally back up my proxies. Can always regenerate them if something goes awry. Back up space is for raw files. 3 copies is 2. 2 copies is only 1. And 1 backup is essentially as good as no backups.
Thanks for your sharing
Amazing!
Thanks Dilan!
I have shotput pro - could I use this for drive to drive transfer instead of Chronosync?
Absolutely. A totally legit program to get the job done.
I learned a lot from this video. I am studying about DIT. What product would be good to buy a Apple laptop?
myself a DIT, I am using Apple 16 gb ram Mac book pro and a iMac.
What is a COLOR DECISION LIST?
Essentially a file that transfers color information from one piece of equipment/software to another. en.wikipedia.org/wiki/ASC_CDL
Hey Ryan, Excellent information...sucko sound. Also, who 'timed' (old school for color corrected) your shots? Seems funny watching a video praising the color capabilities of DaVinci Resolve, yet your presentation is rife with color temperature shifts. And, again...is it too much effort to use a decent lavalier?
Thanks for the input but this isn't a film itself but rather a tutorial about making them. If the audio/color issues took away from the information provided I apologize but that's not what this video was for (to impress people with color and sound).
@@NittyGrittyStudios I like it "RAW". You brought us on *set* and the warts, etc. made for, IMHO, a great depiction expectation. You get a Thumbs Up, Subscriber & Notifications. Thank you!
@@FairlawnARC Appreciate the kind feedback!
"Sneaker Net"... clever
I take no credit. That is a term that has been thrown around for a while. First heard it from the great @CharlesHaine (on Twitter).
Automation is not always reliable.
DIT Final Test MCQ's Overview
czcams.com/video/pNaYnOnuIIE/video.html