red tech prep duties?

[Jason H]

I have been the red tech/data manager on set since red came out. Most local CO.'s (i am in the midwest)will not pay me for a prep day. I have been going down to the camera house on my own to make sure things run smooth on set.. Larger prod. co's have offered me a prep day(co's from LA,NY,chicago). What should I be doing on these prep days other than.

1.making sure there is enough media to record to.
2.Making sure the media and camera work at diff. frame rates.
3. Talk to dp to set up looks and frame lines.
4. Find out what the edit house needs and what is the final aspect ratio for the spot.
5. make sure the camera is working and has all the right cables/etc

thanks for your time!

jason helgren

http://point-blank.tv/

[sbaechler]

Check collimation for all lenses at different distances. The same thing you do with film cameras. Just with the RED you have to do it by eye on the camera.
Do a backfocus with the widest lens at the widest aperture. If a single lens is off you have to have the shims in that lens changed instead of adjusting the backfocus of the camera. (Often the 50mm Zeiss T2.1).
Make sure the sensor is clean and there are no scratches on the OLPF.

Now that the new audio board is out, make sure you have the right audio cables and make sure the sound guy knows.

Check out the camera head and make sure the grips have the right base for their dolly. (Mitchel or 150mm ball.)
Test all accessories if you have them. Like down converter or wireless video. If you have a wireless remote focus make sure there is no interference with the wireless video.
Check filters for scratches. If there are any make sure the rental house cannot blame you later on.

Just make sure you have everything you might need on a shoot. If you are going to have steadycam you might need a down converter for the steadycam operator. If you are going to have action scenes you would want to bring some extra CF cards...

[Dwain Barrick]

Simon all valid points but it sounds like most of this stuff falls under the 1st AC responsibilities.

Jason, as Tech/DIT I'd make sure that all software is up to date on camera and computer system (if the Production Company is supplying).

If it's a multi camera shoot or if there is a back up body I would compare footage from both cameras at the same recording settings and quality modes. To make sure that the footage matches.

Test all back up hard drives and make sure they mount properly.

Be available to the 1st AC to answer any questions regarding camera performance and limitations in regards to frame rates and resolutions.

Find out what user assignable options the operator will need on the EVF, monitor and body and map accordingly.

Find out what kind of Video assist system will be required on the day and test monitoring settings for HDMI, SDI or dual link HD-SDI playback.

There are many more things that will come out to light during the prep that are job specific. I'd be interested to see how this list evolves.

I work independently as a Red Tech and as a Commercial Production Manager, I feel that it's in the Production Company's best interest to invest in a thorough prep to insure that the camera and all of it's accessories are in top working order. It's irresponsible to go camera without having done so. The prep day is something that we should all push for.

[Jason H]

thanks!! all good info Diabolik.

[Nir Shelter]

Second the importance of a prep day and definitely needs to be a paid day, possibly at a reduced rate but payed non the less...
That said depends on the nature of the production and budgets involved I wont charge for prep if it seams inappropriate.

The list above for prep day checks is good and thorough. Yet we need to differentiate now at the fairly beginning of Hi res/solid state integration as industry standard, between 1st AC and DIT. I work mostly as AC/DIT that is my choice in order to increase my appeal to producers. BUT that doesn't mean that one comes on the account of the other. When I AC I AC fully with out compromise and when I DIT I DIT fully with out compromise... and invoice accordingly.

For AC prep day checks there are many publications that can extensively explain the full scope needed. From my understanding the Camera assistant's handbook is the best one to go by.

The DIT prep day checks should be separate to the AC checks and are:

Originally Posted by Diabolik

make sure that all software is up to date on camera and computer system (if the Production Company is supplying).

If it's a multi camera shoot or if there is a back up body I would compare footage from both cameras at the same recording settings and quality modes. To make sure that the footage matches.

not sure I would do the camera comparison check. I would also check all raid arrays and redundancy drives that are intended to be used on the shoot.

Originally Posted by Diabolik

Be available to the 1st AC to answer any questions regarding camera performance and limitations in regards to frame rates and resolutions.

Find out what user assignable options the operator will need on the EVF, monitor and body and map accordingly.

Find out what kind of Video assist system will be required on the day and test monitoring settings for HDMI, SDI or dual link HD-SDI playback.

Definitely communicate with the post supervisor to ensure a correct work flow and accommodating camera settings. Check amount and type of media supplied with the kit ensure it will fit the projected shooting ratio with respect of the back up transfer rate. As well as ensure it will accommodate the used RC and aspect ratio. Make sure non of the drives and cards are faulty and that the kit comes with a bat/drive cradle if shooting to drive.

If strobe or laser effects will be shot conduct a test shoot with the DP and show the result of the test. Then advise on the correct settings and camera operation for the shoot. As others have mentioned these checks are highly dependent on the particular requirements of the shoot.

Lens tests, filter and lens check lists, camera heads and tripod bases are AC checks NOT DIT.

[Brent J. Craig]

I think for most shoots it would be a pretty hard sell to convince production to pay for a prep day for the DIT. Everything mentioned here is typically done by the AC during prep.

[Nir Shelter]

Typically I doubt any AC would check computer software, updates available, backup systems, redundancy HDD, camera builds, Red drive, card functionality, amounts required as per back up system transfer rates, or post and production compatibility settings, image capture settings to fit special effects and or over/under cranking, I can go on... not all mentioned here is AC.

[Brent J. Craig]

Originally Posted by coldpizza

Typically I doubt any AC would check computer software, updates available, backup systems, redundancy HDD, camera builds, Red drive, card functionality, amounts required as per back up system transfer rates, or post and production compatibility settings, image capture settings to fit special effects and or over/under cranking, I can go on... not all mentioned here is AC.

I check 8 out of the 10 things you mentioned when prepping a Red package as the AC. The other 2 (having hard drives) are obviously the DITs job and do not require a prep day.

"Hey DIT, did you remember to bring some hard drives?"
-"Gee, sorry. I didn't have a prep day."

All I am saying is that there is already some resistance to using Red (transcoding costs, post workflow) and telling producers that it takes 2 people to prep a camera package won't play well.

[Florian Stadler]

I don't think RED really requires a DIT like a traditional video DIT anymore (maybe needed with earlier firmware builds when the system wasn't reliable yet). The DP specifies the specs for camera settings and the 1st A.C. executes them on the fully paid prep day (questions will be answered by the camera house). What you do need is a Data Manager that handles the downloads/backups and prepares Dailies as specced by production/post and prepares DPX files for the DP to create color references and brings files up in Redcine as requested by the DP to check things.

We don't need a DIT to handle 3 menu strains that mainly effect metadata.
Sorry DIT's someone had to say it.

[Brian Reisdorf]

keep in mind DIT's are also on set as a sort of insurance policy for the camera. Just because the AC can switch cards doesn't mean they can diagnose/fix any issues that arise, or accommodate the director/DP if they want to do something whacky.

Most AC's I've worked with WANT a DIT there with them because they already have enough to worry about and keep track of without having to know the inside and out of a new camera system.