DIT Paperwork?

[Dustin Cross]

I was just asked to provide some reports for the harddrives I am sending to the post facility. I have never done any kind of report for the drives and was wondering what if anything other DITs are doing?

I send Sound reports, Script Sup logs, one copy of R3D files with .RSX color data, Quicktime offline files.

The producers and post facility don't know what they want in my report, but they think I should be doing something. What do you guys do?


Thanks,
Dusty

[Steve Sherrick]

Depending on the job, could be a customized spreadsheet or in many cases I like to provide a log from Clipfinder which has thumbnail, along with a customized metadata report for each clip which can have scene/take info and a bunch of other info if you need it. Will even generate HTML pages.

R3D Data Manager also can generate a text file of project info and what was copied to a drive.

There are many tools either available now or in the works that will provide wide range of metadata reporting.

[Meryem Ersoz]

we always make a pdf copy of file contents at the end of each day of shooting.

[Dane Brehm]

First and foremost what should accompany the drive is a data specific "Camera Report" and a "Sound report". Secondly, Steve is correct when he said Clipfinder has that option if your looking for a thumbnail or PDF of the camera meta-data.

I like to use 3Cp so I can send a direct pdf with LUT data to the colorist or post supervisor's email.

I also label each exterior with the drive name, my number, GB count, and total drive amount.

goodluck,

[Matthew Riggieri]

Depends on the show but we have been doing data centric camera reports since the days of P2. For commercial work, just a whole day report outline running time, mag type and serial, reel GB, total clips and any notes, for every reel throughout the days. The report includes what drives the data was backed up to also.

For feature work I do a full camera report with scene/ take breakdown for each reel. Just like any normal AC camera report. Report prints and ngs for post plus include any lut/rsx info and any data issues I may have had.

I always save PDF reports from clipfinder and the r3d copy report to the root of the reel folder but I whole heartly think you should also do handwritten reports. Keeps you on your game. Have caught clip corruption errors that I would have not othwerwise with computer generated reports


Cheers
matt Riggieri
local 600 DIT

[Jason H]

"Have caught clip corruption errors that I would have not othwerwise with computer generated reports"

could you please elaborate on how these errors were caught and what they looked like?

thanks!

j

[Matthew Riggieri]

Jason

I have caught metadata corruption issues off of CF cards a couple times on features. Doing a clip by clip report forces you to check every clip and allowed me to catch this even when the set was hectic. Computer generated report would have said it copied correctly but I would not have checked for the slate and noticed either a missig take or scene. I guess they don't need to Hand written but pure automated compter generated reports I think is just asking for trouble.

Jason
I have been meeting to talk to you about your LTO rates. Do you care about revealing them in a public forum or should I PM you?

Cheers
Matthew Riggieri
Digital Cave Media

[Tony Lorentzen]

I always go through the script report and make a document of all takes and match them up with clip numbers on the drives. I always check that each file will play from the Quicktime reference files. Sometimes I'm also required to check for dropped frames (particularly with handheld), sometimes focus (although usually that doesn't make sense because there's no way to go back and reshoot something just for focus).

[Morning Glory]

Along with the usual sound report, continuity notes and PO, I send a specially designed Red Digital Camera Report. You can find a PDF example at the bottom of this page (http://www.dghagey.com/Director_of_Photography/Resources.html). It is designed to fit into a standard camera report book sleeve.

There is enough space to write the "C001" clip number for each take, very useful for the DMT, and potentially the lab, VFX and the editors.

There are checkmark boxes to ensure checksum verification and visual verification. I always back up media using checksum verification software. I always use one the generates logs as well, PAPER TRAILS (even digital ones) are a DIT/DMTs best friend. And visual verification is a MUST in my books, at least the circled takes, but most of the time I do all takes.

Please feel free to use this template, modify it, make constructive suggestions. I can also post an example of how it is filled out if any wants.

[Dave Cox]

^^ I think I have a book of those reports! (DMT on republic of doyle in St. John's)

We designed our own which look very much like a film camera report, and keep our records this way. At the end of the day, I send continuity, sound (plus a dvd the sound guy makes) and camera reports along with a brief overview of how much we shot, what rolls etc. for the DPR.

This all goes in with the drive which heads off directly to editorial, and is processed by our dailies editor.

In terms of what I look at when I'm downloading a mag, it ranges from digital corruption/dropped frames through to focus and lighting. I'm creating 1080P transcodes for cutting, and these are also used to make the dailies. Because of this I find myself doing the occasional bit of correction for brightness and color temperature so that it all looks good. I do tend to at least scrub through every clip to make sure it all matches up. This is pretty easy in rocketcine-x and it allows me to create custom settings for each clip to render them out later, which is also a bonus.

we're over halfway through our shoot now, four months in at this point, so the workflow is down pretty solid. if anyone has any questions I'd be glad to answer them.