CODEX DIGITAL ONBOARD RECORDER

CODEX DIGITAL LIMITED 60 POLAND STREET LONDON ENGLAND W1F 7NT UK TEL +44 (O)20 7292 6918 CODEXDIGITAL.COM INFO@CODEXDIGITAL.COM

VIDEO INTERFACE

INPUTS:

2 x 4:4:4 INPUTS

2 x 4:2:2 INPUTS

OUTPUTS:

1 x 4:4:4 OUTPUTS

2 x 4:2:2 OUTPUTS

RECORDING FORMATS

UNCOMPRESSED RECORDING

WAVELET RECORDING

SUPPORTED VIDEO FORMATS

1920 x 1080I/PSF 10-/8-BIT YCBYCR 4:2:2

OR 10-/8-BIT RGB 4:4:4 23.98, 24, 25,

29.97, 30 FPS.

1920 x 1080PSF 10-/8-BIT YCBYCR 4:2:2

DUAL-LINK 47.96, 48, 50, 59.94, 60 FPS.

1280 x 720P 10-/8-BIT YCBYCR 4:2:2

OR 10-/8-BIT RGB 4:4:4 59.94, 60 FPS.

ARRIRAW 12-/14-BIT SUPPORT

AUDIO INTERFACE

AES/EBU DIGITAL AUDIO I/O

(4 CHANNELS)

ANALOG AUDIO I/O

(2 CHANNELS)

3.5MM STEREO HEADPHONE MONITOR

SUPPORTED AUDIO FORMATS

16/24-BIT AT 48 KHZ, AES OR HD-SDI

EMBEDDED

NETWORK INTERFACE

1 x GIGABIT ETHERNET

CONTROL/SYNC INTERFACES

1 x GENLOCK

1 x LTC TIMECODE

1 x GPI RECORD TRIGGER

1 x RS422 MACHINE CONTROL

RECORDING MEDIA

SOLID STATE 128 - 512GB DATA PACK

CONTROL SURFACE

CONFIGURATION AND RECORDING USING

TOUCH-BASED CONTROL SURFACE.

CONTROL SURFACE CAN BE HANDHELD.

CONTROL SURFACE CAN BE MOUNTED

ON LEFT OR RIGHT SIDE OF RECORDER.

USER INTERFACE

INTERFACE CAN BE RUN LOCALLY, OR CAN

BE RUN REMOTELY ON A COMPUTER.

BLUETOOTH REMOTE CONTROL

ENVIRONMENTAL

POWER: 12 - 28V DC LEMO

WEIGHT: 5.7LBS / 2.5KG

OPERATING TEMPERATURE: 5 – 40° C

SETTING THE STANDARD FOR TAPELESS WORKFLOWS, THE CODEX ONBOARD RECORDER CAN CAPTURE THE BEST QUALITY

DIGITAL CAMERA ORIGINALS.

IT CAN BE MOUNTED DIRECTLY ON A WIDE RANGE OF CAMERA SYSTEMS INCLUDING THE SONY F23, F35, ARRI D-21 AND ARRI ALEXA.

THE CODEX ONBOARD CAN RECORD UNCOMPRESSED OR WAVELET CINEMA QUALITY HD MATERIAL – PLUS AUDIO AND METADATA – ONTO

A SINGLE, REMOVABLE DATA PACK. WHEN SHOOTING IS DONE, IT OFFLOADS MATERIAL FASTER THAN REAL-TIME.

THE CODEX ONBOARD IS IDEAL FOR ANYONE WHO WANTS TO WORK FAST, AT THE HIGHEST QUALITY, USING A WEATHER-RESISTANT UNIT

THAT WEIGHS JUST 2.5KG.

TECHNICAL SPECIFICATION

Images shown are indicative only of final specification. Codex Digital Limited reserve the right to alter the specification at any time and without prior notice. © Copyright Codex Digital Limited. Q2. 2010

198.7mm (7.8in) 98mm (3.9in)

115m

m (4

.5in

)

HD MAGAZINE | 21

TAPELESS TIMES – P2 IN CINEMA

P2 For Dramahe acceleration of HDTV delivery and the need for that type of quality image capture has led Rogue Element Films to investigate other avenues of recording

images for TV Productions. The costs of recording for some productions, allied to the rental of certain equipment for that style of recording, have proven to be somewhat prohibitive, although it’s probably the best way to capture the highest quality images

possible along with uncompressed data via DPX frames. Other ways to capture these images have been seen to offer the most rounded solution for certain content delivery environments.

Most high end TV productions will be looking at

two cameras per show for shooting which can double the stock purchase and also doubles the rental for equipment.

How do we reduce those costs but keep the quality of the images intact while delivering a cheaper and perhaps more efficient workflow option? These questions prompted us to look at the Panasonic P2 workflow usually reserved for ENG practices.

By using its AVC Intra 100 codec the P2 cards, via the HPG20 unit, we can record full 10bit 4.2.2 images from SDI cameras such as the Sony F35 and Thomson Vipers thus giving us the image quality but allowing us a much more cost effective data recording solution.

In this article I will explain the P2 workflow and show examples and explanations of why we at Rogue have adopted the P2 for such work.

Introduced by Panasonic in 2004 the P2 format is based around solid state media to capture varying levels of image data with differing codec values. By using the AG-HPG20 recording system we at Rogue are able to capture from the F35 full 10bit 4.2.2 1080 25p images into the AVC-Intra 100 codec.

Being only 1kg in weight we are able to attach the recorder to the camera allowing for an un-tethered recording system. Being a data workflow allows certain time efficiencies within your workflow and gives the production time and costs savings. So for HDTV content delivery we can capture amazing images from the F35 but retain a cost effective data workflow throughout saving time and money.

P2 HardwareAs the images show you here the HPG20 recording unit can be integrated into the F35 and thus create a completely self contained shooting and recording environment with a relatively small footprint. The P2 recorder can run from local power that is powering the F35 at the same time and enables as best we can a similar recording and power delivery system as the F900 keeping everything running of one battery and a self contained recording environment.

The HPG20 has a small LCD screen that can be used for verifying shots that have been captured and recording is controlled via a record button on the unit itself. P2 cards are needed to insert into the recorder and it has two available slots, allowing for a full card to be removed and then archived while a second card continues recording. Once the P2 recorder is set up then it’s a simple case of recording your takes all in 4.2.2 10bit 1080 25p.

P2 SoftwareAny data/card/hard drive recording system naturally relies on the software to drive the workflow from point A to B. In the case of the P2 system Panasonic have created a full software suite that caters for not only the capture codec but also the archive and delivery requirements needed.

The P2CMS (Content Management Software) caters for this. It’s a library for the rushes taken and each shot is issued a unique identifier that will enable a clip to be easily selected and viewed during conform. The CMS also allows the layout of each clip at full resolution and the ability to re-save any metadata that may have been missed during the actual shoot.

Archiving the rushes is simply a case of formatting an external drive into the P2 environment and then transferring the shot rushes across to the external drive using the actual HPG unit you have recorded from.

To re-cap then the P2 software and workflow revolves, in this example, around the AVC Intra 100

Panasonic P2 and Rogue Element Films look at 4.2.2 HDTV content delivery using Sony’s F35 and Thomson’s Viper

SONY F35 with P2 recorder on-top

The P2 recorder can run from local power that is powering the camera at the same time

T

20 | HD MAGAZINE

TAPELESS TIMES – P2 IN CINEMA

“Being only 1kg in weight we are able to attach the recorder to the camera allowing for an un-tethered record-ing system. Being a data workflow allows certain time efficiencies within your workflow and gives the produc-

tion time and costs savings.”

HD MAGAZINE | 21

TAPELESS TIMES – P2 IN CINEMA

P2 For Dramahe acceleration of HDTV delivery and the need for that type of quality image capture has led Rogue Element Films to investigate other avenues of recording

images for TV Productions. The costs of recording for some productions, allied to the rental of certain equipment for that style of recording, have proven to be somewhat prohibitive, although it’s probably the best way to capture the highest quality images

possible along with uncompressed data via DPX frames. Other ways to capture these images have been seen to offer the most rounded solution for certain content delivery environments.

Most high end TV productions will be looking at

two cameras per show for shooting which can double the stock purchase and also doubles the rental for equipment.

How do we reduce those costs but keep the quality of the images intact while delivering a cheaper and perhaps more efficient workflow option? These questions prompted us to look at the Panasonic P2 workflow usually reserved for ENG practices.

By using its AVC Intra 100 codec the P2 cards, via the HPG20 unit, we can record full 10bit 4.2.2 images from SDI cameras such as the Sony F35 and Thomson Vipers thus giving us the image quality but allowing us a much more cost effective data recording solution.

In this article I will explain the P2 workflow and show examples and explanations of why we at Rogue have adopted the P2 for such work.

Introduced by Panasonic in 2004 the P2 format is based around solid state media to capture varying levels of image data with differing codec values. By using the AG-HPG20 recording system we at Rogue are able to capture from the F35 full 10bit 4.2.2 1080 25p images into the AVC-Intra 100 codec.

Being only 1kg in weight we are able to attach the recorder to the camera allowing for an un-tethered recording system. Being a data workflow allows certain time efficiencies within your workflow and gives the production time and costs savings. So for HDTV content delivery we can capture amazing images from the F35 but retain a cost effective data workflow throughout saving time and money.

P2 HardwareAs the images show you here the HPG20 recording unit can be integrated into the F35 and thus create a completely self contained shooting and recording environment with a relatively small footprint. The P2 recorder can run from local power that is powering the F35 at the same time and enables as best we can a similar recording and power delivery system as the F900 keeping everything running of one battery and a self contained recording environment.

The HPG20 has a small LCD screen that can be used for verifying shots that have been captured and recording is controlled via a record button on the unit itself. P2 cards are needed to insert into the recorder and it has two available slots, allowing for a full card to be removed and then archived while a second card continues recording. Once the P2 recorder is set up then it’s a simple case of recording your takes all in 4.2.2 10bit 1080 25p.

P2 SoftwareAny data/card/hard drive recording system naturally relies on the software to drive the workflow from point A to B. In the case of the P2 system Panasonic have created a full software suite that caters for not only the capture codec but also the archive and delivery requirements needed.

The P2CMS (Content Management Software) caters for this. It’s a library for the rushes taken and each shot is issued a unique identifier that will enable a clip to be easily selected and viewed during conform. The CMS also allows the layout of each clip at full resolution and the ability to re-save any metadata that may have been missed during the actual shoot.

Archiving the rushes is simply a case of formatting an external drive into the P2 environment and then transferring the shot rushes across to the external drive using the actual HPG unit you have recorded from.

To re-cap then the P2 software and workflow revolves, in this example, around the AVC Intra 100

Panasonic P2 and Rogue Element Films look at 4.2.2 HDTV content delivery using Sony’s F35 and Thomson’s Viper

SONY F35 with P2 recorder on-top

The P2 recorder can run from local power that is powering the camera at the same time

T

20 | HD MAGAZINE

TAPELESS TIMES – P2 IN CINEMA

“Being only 1kg in weight we are able to attach the recorder to the camera allowing for an un-tethered record-ing system. Being a data workflow allows certain time efficiencies within your workflow and gives the produc-

tion time and costs savings.”

22 | HD MAGAZINE

Elstree Studios.For the BBC show Last of the Summer Wine we

recorded the 2010 series on the Viper connected to an SRW1 HDCAM SR field recorder. To test the viability of the P2 format we connected a P2 HPG20 recording device to the SRW1 4.2.2 output and recorded the same rushes we were recording to the SR format (see pictures of deck with SRW1). This enabled a true comparison to the SR masters and to see how easily the P2 system could be integrated into a real shoot on set.

The HPG20 recorder performed flawlessly and we had zero issues recording the images on set. In fact the size of the recorder itself gave us certain freedoms by enabling us to attach the recorder to the Viper camera head instead of being tethered to the SRW1 deck as normal. This gives recording control back to

the DP/Operator and perhaps reduces the need for certain dedicated operations now seen on digital sets in such circumstances?

The images looked fantastic given the compression employed by the AVC Intra codec and looking at the results and given the ability to have un-tethered recording capability we would have no problem recommending the P2 to any production giving a real choice and a true alternative.

Final AnalysisBy using the P2 card system and the HPG20 recording unit productions have the ability to capture high dynamic range images from the Viper or F35 in 4.2.2 colour space at full 10bit capture and as the delivery requirements would be for 16mb/s TV then its entirely viable given the delivery requirements. Data workflows using the P2 software and codecs then introduces significant cost and time savings and also retains the high image quality that the F35 delivers, it really is a fantastic way to save you time and money and give you the exceptional image quality that high end TV dramas now rightly insist on.

codec. This is the capture codec that best supports the F35/Vipers 10bit output at 4.2.2. This captured codec is then archived and then pushed through Panasonics CMS software suite to create your dailies and deliver the content to editorial to create your EDL. One major advantage of the native P2 format is its ability to be ingested into your edit suite in its native format thus removing the need to downconvert to another format to edit from and giving editorial the ability to see the same rushes in HD that you shot on set and removes another task from the workflow thus creating time and cost savings during production.

Testing On Set WorkflowWe tested the workflow for the P2 thoroughly on a recent BBC show using the Viper and also the F35 workflow on a recent test for another HDTV show at

Part of the BBC’s test on Last Of The Summer Wine with Sony SRW1 and P2

TAPELESS TIMES – P2 IN CINEMA

Rogue Element Fims is a pioneer of data workflows for Features and TV. Based at Elstree Studios in a brand new Digital Technology Centre they develop new workflow tools and offer full consultancy and rental including now a brand new 3D system based on the SI2K mini recording heads with a Cineform and .SIV workflow.

HD

34 | HD MAGAZINE HD MAGAZINE | 35

REVIEW: FILMLIGHT TL ONSETgrading on set

n set correction and 3D LUTs are still somewhat dividing opinions and are now, as digital image capture moves on, becoming more widely used and

excepted as a tool for correcting images on set either for later collaborations with a grading team or just for viewing images more corrected than a flat log image would be. Indeed in 2007 our article on LUTs remains today one of the most successful downloaded articles for this magazine.

So here I present a follow up of sorts and introduce a new method of working that brings to the table a new way of using 3D LUTs on set.

Truelight On SetTruelight On-Set allows you to set the look of your production quite early on; it provides the ability to colour-correct on-set and share corrections with a post-production facility.

For monitoring while shooting, Truelight On-Set applies a colour Transform (3D LUT) between the

camera and monitors. Colour grades, set in pre- production or on previous shoots, can be applied and then further adjusted at the time of shooting. For dailies review system allows you to apply colour correction to footage as it is reviewed on-location. In both scenarios, grading decisions are logged with timecode and can be used to create the dailies deliverables and as a possible starting point for future colour correction.

Real TimeA few years ago Thomson introduced the LUTher box and Filmlight their Truelight LUT box. These systems allowed 3D Cubes to be created and allow for the instant application of a designed 3D LUT to the live image on set via an HD monitor. To create the LUT though a ‘frame grab’ was required from the cameras output which could be manipulated via software to ‘create’ your new desired look (3D LUT) for viewing.

This has now taken a significant step forward with

Rogue Element Films’ Daniel Mulligan reviews a new way of timing on-set with ASC Standard LUT Implementation

O

TRUELIGHT ON-SET

TrueLight On-Set User Interface

the introduction of TL On Set, Filmlight’s Truelight On Set. The TL can now take that same live output but instead of requiring a frame grab it can now correct the live image in real time without the need for any ingest or capture. It may not sound much but believe me this is a significant move forward and opens up a new set of tremendous possibilities for the next generation of colour correction on set and location.

ASC LUT StandardThe TL implements the ASC LUT standard when creating your 3D LUTs. This standard was designed to build a standard LUT format that could be used by every software and hardware package in the market. By adopting the ASC standard the TL will then guarantee that the Post House which you use should have no difficulty in understanding the LUTs you have created.

WorkflowsThe new real time aspect of the unit does open some nice possibilities for new workflow solutions that could save time and money when integrated correctly. Also along with the ASC LUT standard the TL system can integrate your LUTs with the timecode captured. By tagging the LUTs to the timecode when the rushes are then played back say for projection dailies the LUTs selected earlier will be automatically selected for you as the rushes play back.

TelevisionThe onset correction system could quite rightly be used to re-time your rushes/images while you shoot and baked into your master copy saving time and money in grading suites. By placing the TL OnSet between the camera and the recording system (say an SRW1 deck) you can time the rushes instantly on set and bake this to the output of the TL box. Take this feed into your recording deck an you will be recording your master rushes with the baked in look that you have applied. If done correctly you can then take the corrected images straight to grade already timed on set, this will save considerable time in the grading suite.

FeaturesFor Feature Film requirements though our parameters for the images are more critical, so the TL system should be then used accordingly. Shooting digitally for Features would normally

mean shooting a Log/RAW type image, which gives us more flexibility in Post. So baking your rushes into the master would most likely not happen, but the LUTs you have created on set will be used for your offline copies (FCP ProRes or DNxHD Avid files) and also used for the start of your grading session.

When reviewing dailies on-location, for example, primary colour correction decisions performed by a colourist at your post-production house do not have to be baked in, your dailies can remain uncorrected. These post-production grades can be recreated on the Truelight On-Set system, reviewed and adjusted, and then returned to the post-production colourist by means of the previously mentioned ASC CDL list. This allows for a collaborative dailies review session with the ability to clearly communicate colour intentions back and forth between production and post-production.

ConclusionsClearly Filmlight’s Truelight OnSet correction system has a tremendous amount of flexibility and use for current digital Productions. We have covered just the basics of the system here and could probably write full articles on just a Feature Film workflow alone.

Having now used 3D LUTs for many years with a varying array of kit and software its fair to say the arrival of the TL On Set and the ability to create your LUTs in real time is taking this way of working to new exciting level. Once the advantages are made clear and the workflow options understood this I’m sure will be a way many of us will be working for a long time to come.www.rogueelementfilms.com

TL OnSet now available for rental from Rogue Element Films

“The arrival of the TL On Set from FilmLight and the ability to create your LUTs in real time is taking this way of working to a new and exciting level.” Dan Mulligan, DoP

34 | HD MAGAZINE HD MAGAZINE | 35

REVIEW: FILMLIGHT TL ONSETgrading on set

n set correction and 3D LUTs are still somewhat dividing opinions and are now, as digital image capture moves on, becoming more widely used and

excepted as a tool for correcting images on set either for later collaborations with a grading team or just for viewing images more corrected than a flat log image would be. Indeed in 2007 our article on LUTs remains today one of the most successful downloaded articles for this magazine.

So here I present a follow up of sorts and introduce a new method of working that brings to the table a new way of using 3D LUTs on set.

Truelight On SetTruelight On-Set allows you to set the look of your production quite early on; it provides the ability to colour-correct on-set and share corrections with a post-production facility.

For monitoring while shooting, Truelight On-Set applies a colour Transform (3D LUT) between the

camera and monitors. Colour grades, set in pre- production or on previous shoots, can be applied and then further adjusted at the time of shooting. For dailies review system allows you to apply colour correction to footage as it is reviewed on-location. In both scenarios, grading decisions are logged with timecode and can be used to create the dailies deliverables and as a possible starting point for future colour correction.

Real TimeA few years ago Thomson introduced the LUTher box and Filmlight their Truelight LUT box. These systems allowed 3D Cubes to be created and allow for the instant application of a designed 3D LUT to the live image on set via an HD monitor. To create the LUT though a ‘frame grab’ was required from the cameras output which could be manipulated via software to ‘create’ your new desired look (3D LUT) for viewing.

This has now taken a significant step forward with

Rogue Element Films’ Daniel Mulligan reviews a new way of timing on-set with ASC Standard LUT Implementation

O

TRUELIGHT ON-SET

TrueLight On-Set User Interface

the introduction of TL On Set, Filmlight’s Truelight On Set. The TL can now take that same live output but instead of requiring a frame grab it can now correct the live image in real time without the need for any ingest or capture. It may not sound much but believe me this is a significant move forward and opens up a new set of tremendous possibilities for the next generation of colour correction on set and location.

ASC LUT StandardThe TL implements the ASC LUT standard when creating your 3D LUTs. This standard was designed to build a standard LUT format that could be used by every software and hardware package in the market. By adopting the ASC standard the TL will then guarantee that the Post House which you use should have no difficulty in understanding the LUTs you have created.

WorkflowsThe new real time aspect of the unit does open some nice possibilities for new workflow solutions that could save time and money when integrated correctly. Also along with the ASC LUT standard the TL system can integrate your LUTs with the timecode captured. By tagging the LUTs to the timecode when the rushes are then played back say for projection dailies the LUTs selected earlier will be automatically selected for you as the rushes play back.

TelevisionThe onset correction system could quite rightly be used to re-time your rushes/images while you shoot and baked into your master copy saving time and money in grading suites. By placing the TL OnSet between the camera and the recording system (say an SRW1 deck) you can time the rushes instantly on set and bake this to the output of the TL box. Take this feed into your recording deck an you will be recording your master rushes with the baked in look that you have applied. If done correctly you can then take the corrected images straight to grade already timed on set, this will save considerable time in the grading suite.

FeaturesFor Feature Film requirements though our parameters for the images are more critical, so the TL system should be then used accordingly. Shooting digitally for Features would normally

mean shooting a Log/RAW type image, which gives us more flexibility in Post. So baking your rushes into the master would most likely not happen, but the LUTs you have created on set will be used for your offline copies (FCP ProRes or DNxHD Avid files) and also used for the start of your grading session.

When reviewing dailies on-location, for example, primary colour correction decisions performed by a colourist at your post-production house do not have to be baked in, your dailies can remain uncorrected. These post-production grades can be recreated on the Truelight On-Set system, reviewed and adjusted, and then returned to the post-production colourist by means of the previously mentioned ASC CDL list. This allows for a collaborative dailies review session with the ability to clearly communicate colour intentions back and forth between production and post-production.

ConclusionsClearly Filmlight’s Truelight OnSet correction system has a tremendous amount of flexibility and use for current digital Productions. We have covered just the basics of the system here and could probably write full articles on just a Feature Film workflow alone.

Having now used 3D LUTs for many years with a varying array of kit and software its fair to say the arrival of the TL On Set and the ability to create your LUTs in real time is taking this way of working to new exciting level. Once the advantages are made clear and the workflow options understood this I’m sure will be a way many of us will be working for a long time to come.www.rogueelementfilms.com

TL OnSet now available for rental from Rogue Element Films

“The arrival of the TL On Set from FilmLight and the ability to create your LUTs in real time is taking this way of working to a new and exciting level.” Dan Mulligan, DoP

76 Autumn 2010 ZERB

over a rushes tape to production. Increasingly, the camera team is employed not only to shoot and/or supply the camera kit but also to record, archive and in some cases ingest the rushes. This can require pretty detailed knowledge and experience of all manner of different formats and combinations of equipment and systems.

File-based shootingAmongst the array of different cameras out there shooting right now are Sony’s F35, F23, F900R, 750P, XDCAM and EX3; ARRI’s Alexa and D21; the RED; Genesis; Panasonic P2 cameras; and Canon and Nikon HDSLRs – all of them with their different features and foibles. Some are still tape-based and styled like ENG cameras (F900/750P), some have their recording capability built in (e.g. EX3 is a tapeless card-based camera with two slots for SxS media), while others like the F35 can record either to tape (HDCam SR) or to a file-based system (Stwo or Codex). Let’s look at a couple of examples of how the system adopted by any one shoot can affect the workflow and therefore the role of the DIT/DFT.

DFTs on a featureIf we choose the F35 camera as an example and assume that Production want to shoot the highest possible quality image from that camera as a file-based recording, then the choice will be for an uncompressed image. This will take us into the realm of the field-operated (DFR) recorder. Recording uncompressed DPXs (digital picture exchanges) from a DFR requires a lot of infrastructure, hard drive capability and storage. At 8MB for each 444 frame, you can see how quickly the storage requirements mount up. On set, each shot will need to be logged, tagged (with metadata), offlined, archived (LTO) and then sent to online for conforming later. So it is essential that dedicated and skilled crew members – our DFTs – are in place to work and control the equipment. On a shoot like this, the tasks falling to the DFT are many and also very important to the production. This is a ‘digital negative’ being created and this neg needs to be duly looked after and nurtured. On a big shoot, the responsibilities of the DFT can be so many and so varied that a small team of DFTs may be required.

An example could be when shooting uncompressed DPXs with full metadata (production information such as location, int/ext slate numbers etc) all of which must be entered before turning over. The DPXs will then need to be backed up (archived) for later conforming. Once that is complete, an offline copy must be generated. Finally, the DPXs may be required for 2K playback on a projector with full 3D LUT implementation. That’s a lot of tasks every day.

DIT on a TV drama shootFor this example we choose the P2 system, say the new 3700 camera. This can record either 422 or 444, but let’s say in this instance 422 is fine for delivery for HDTV broadcast. Recording to tapeless P2 media will require the P2 cards to go through their daily routine of shoot, archive, offline then online. However, with the compression of P2 at AVCIntra 100 being quite high, we don’t need as big an infrastructure as the uncompressed example above and so fewer individuals will be needed on set. P2 media can be directly ingested into most facilities natively so the archiving of rushes, with playback if needed, becomes the main task since the offline copy is the master thereby removing a task. Once the P2 rushes have been archived (to formatted P2 hard drives), the rushes are then instantly viewable for checking and the archive disk can be sent to offline for editing and later conforming.

Workflow wikiWe have covered just two of many,

many options here – and those very briefly. We could go on to include RED with its compact flash/hard drives, HDCam SR, XDCAM and SxS, plus any number of other ways of ‘skinning the digital cat’ and this would surely underline the need for the presence of skilled DIT/DFTs on set. Instead, this article is just a taster. Rather than fill up the whole issue with different examples, perhaps a smarter way of amassing a compendium of real-life workflows GTC members have been successfully (and even not so successfully!) involved in, is to collect together a ‘workflow reference’ section on the GTC website www.gtc.org.uk.

As the new lexicon for the role of the DIT/DFT emerges, the GTC can be involved. If this article has inspired you to want to find out more about this new way of working, then Dan will be running a GTC workshop at the new P2 Experience Centre at Pinewood Studios on 28 August, plus we will be putting together the new ‘Workflow wiki’ on the GTC site in the coming months.

Alpha Grip, based in Pinewood Studios, supplies all types of dollies, modular and telescopic cranes,

remote heads and all grip accessories. Experienced technicians are also available.

Please refer to our website www.alphagrip.co.uk for full details of equipment available and our services.

+44 (0)1753 639 200 info@alphagrip.co.uk

ALPHA GRIP

Autumn 2010 ZERB 77

DITs and DFTs www.gtc.org.uk

During the last few years we have seen the emergence of an ever-expanding array of different ways of shooting images, utilising everything from tape-based to newer file-based recording options. Systems such as SxS Sony cards and Panasonic P2 have become well established in the lexicon of the digital world – but knowing how to get the most out of them in a range of different circumstances can be quite mind-boggling. The increased selection of system options and possible workflows has led to new levels of complexity around acquiring, recording and storing images, so much so that a whole new post, that of the specialist digital imaging (or film) technician (aka DIT or DFT) has emerged. For years we have lamented the downsizing of crews but now it looks as if a new skilled crew member may become commonly requested on many different kinds of shoot. This article introduces the roles, as currently accepted and defined, of the

much vaunted DIT or DFT, and will also take a brief look at the kinds of task such new positions may encompass. One article cannot possibly cover every scenario or system, but by taking a quick look at the possibilities for this role, perhaps we can begin to gain a greater understanding of how it can develop. Perhaps, for example, we will begin to see different levels of skill and experience being recognised as DIT Levels 1 and 2, defining the roles even further?

TerminologyPerhaps some of the confusion around the role results from the profusion of

different titles and job descriptions being bandied about. This can include anything from DIT, DFT, data manager to asset management and more. The evolution of the DIT can be traced back to the early days of the Sony F900/1 in the USA when a DIT was required to make sure the camera was technically set up as the DoP required (gamma levels, frame rates and so on). In recent years, the role has expanded to encompass all kinds of data/file-based work.

WorkflowsThe specific role of the DIT/DFT on any one shoot tends to be governed by the tasks required by the particular camera system chosen to achieve the photography on that shoot. Each system has its own ‘workflow’ and can require a DIT/DFT to assist in any or all of the stages, from prepping the camera for filming, right through to making sure the daily content deliverables and archiving tasks are safely completed.

Tape vs dataIn the early days of digital cameras there were only a few to choose from. The Sony BVW400 Beta SP system was succeeded by the Digibetas and for a good few years essentially one system dominated. Now, we have so many codecs and file formats available, the choice can be quite bewildering. P2, XDCAM, SxS, DPX, R3D are just some examples of the recording codecs around, then add into each codec the different models of camera as well. and the range of options and variables can become quite mind-blowing. Gone are the days of shooting Beta and the job ending with handing

www.gtc.org.uk DITs and DFTs

What does it all stand for?DFR digital film recorderDFT digital film technicianDIT digital imaging technicianDPX digital picture exchangeLTO linear tape-open – open standards magnetic tape data storage LUT look-up table

Fact FileDaniel Mulligan is a cinematographer/camera operator and has recently become a GTC Council Member.www.rogueelementfilms.comTel: +44 7866 447564

To book a place on the GTC DIT/DFT workshop at the P2 Experience Centre at Pinewood Studios on 28 August, visit www.eventelephant.com/GTC-2010Awards

The DIT at work on set

P2 portable recorder hooked up to portable hard drive

Multiple models and formats - Panasonic AG-HPG20 with Sony HDCam SRW1 deck

76 Autumn 2010 ZERB

over a rushes tape to production. Increasingly, the camera team is employed not only to shoot and/or supply the camera kit but also to record, archive and in some cases ingest the rushes. This can require pretty detailed knowledge and experience of all manner of different formats and combinations of equipment and systems.

File-based shootingAmongst the array of different cameras out there shooting right now are Sony’s F35, F23, F900R, 750P, XDCAM and EX3; ARRI’s Alexa and D21; the RED; Genesis; Panasonic P2 cameras; and Canon and Nikon HDSLRs – all of them with their different features and foibles. Some are still tape-based and styled like ENG cameras (F900/750P), some have their recording capability built in (e.g. EX3 is a tapeless card-based camera with two slots for SxS media), while others like the F35 can record either to tape (HDCam SR) or to a file-based system (Stwo or Codex). Let’s look at a couple of examples of how the system adopted by any one shoot can affect the workflow and therefore the role of the DIT/DFT.

DFTs on a featureIf we choose the F35 camera as an example and assume that Production want to shoot the highest possible quality image from that camera as a file-based recording, then the choice will be for an uncompressed image. This will take us into the realm of the field-operated (DFR) recorder. Recording uncompressed DPXs (digital picture exchanges) from a DFR requires a lot of infrastructure, hard drive capability and storage. At 8MB for each 444 frame, you can see how quickly the storage requirements mount up. On set, each shot will need to be logged, tagged (with metadata), offlined, archived (LTO) and then sent to online for conforming later. So it is essential that dedicated and skilled crew members – our DFTs – are in place to work and control the equipment. On a shoot like this, the tasks falling to the DFT are many and also very important to the production. This is a ‘digital negative’ being created and this neg needs to be duly looked after and nurtured. On a big shoot, the responsibilities of the DFT can be so many and so varied that a small team of DFTs may be required.

An example could be when shooting uncompressed DPXs with full metadata (production information such as location, int/ext slate numbers etc) all of which must be entered before turning over. The DPXs will then need to be backed up (archived) for later conforming. Once that is complete, an offline copy must be generated. Finally, the DPXs may be required for 2K playback on a projector with full 3D LUT implementation. That’s a lot of tasks every day.

DIT on a TV drama shootFor this example we choose the P2 system, say the new 3700 camera. This can record either 422 or 444, but let’s say in this instance 422 is fine for delivery for HDTV broadcast. Recording to tapeless P2 media will require the P2 cards to go through their daily routine of shoot, archive, offline then online. However, with the compression of P2 at AVCIntra 100 being quite high, we don’t need as big an infrastructure as the uncompressed example above and so fewer individuals will be needed on set. P2 media can be directly ingested into most facilities natively so the archiving of rushes, with playback if needed, becomes the main task since the offline copy is the master thereby removing a task. Once the P2 rushes have been archived (to formatted P2 hard drives), the rushes are then instantly viewable for checking and the archive disk can be sent to offline for editing and later conforming.

Workflow wikiWe have covered just two of many,

many options here – and those very briefly. We could go on to include RED with its compact flash/hard drives, HDCam SR, XDCAM and SxS, plus any number of other ways of ‘skinning the digital cat’ and this would surely underline the need for the presence of skilled DIT/DFTs on set. Instead, this article is just a taster. Rather than fill up the whole issue with different examples, perhaps a smarter way of amassing a compendium of real-life workflows GTC members have been successfully (and even not so successfully!) involved in, is to collect together a ‘workflow reference’ section on the GTC website www.gtc.org.uk.

As the new lexicon for the role of the DIT/DFT emerges, the GTC can be involved. If this article has inspired you to want to find out more about this new way of working, then Dan will be running a GTC workshop at the new P2 Experience Centre at Pinewood Studios on 28 August, plus we will be putting together the new ‘Workflow wiki’ on the GTC site in the coming months.

Alpha Grip, based in Pinewood Studios, supplies all types of dollies, modular and telescopic cranes,

remote heads and all grip accessories. Experienced technicians are also available.

Please refer to our website www.alphagrip.co.uk for full details of equipment available and our services.

+44 (0)1753 639 200 info@alphagrip.co.uk

ALPHA GRIP

Autumn 2010 ZERB 77

DITs and DFTs www.gtc.org.uk

During the last few years we have seen the emergence of an ever-expanding array of different ways of shooting images, utilising everything from tape-based to newer file-based recording options. Systems such as SxS Sony cards and Panasonic P2 have become well established in the lexicon of the digital world – but knowing how to get the most out of them in a range of different circumstances can be quite mind-boggling. The increased selection of system options and possible workflows has led to new levels of complexity around acquiring, recording and storing images, so much so that a whole new post, that of the specialist digital imaging (or film) technician (aka DIT or DFT) has emerged. For years we have lamented the downsizing of crews but now it looks as if a new skilled crew member may become commonly requested on many different kinds of shoot. This article introduces the roles, as currently accepted and defined, of the

much vaunted DIT or DFT, and will also take a brief look at the kinds of task such new positions may encompass. One article cannot possibly cover every scenario or system, but by taking a quick look at the possibilities for this role, perhaps we can begin to gain a greater understanding of how it can develop. Perhaps, for example, we will begin to see different levels of skill and experience being recognised as DIT Levels 1 and 2, defining the roles even further?

TerminologyPerhaps some of the confusion around the role results from the profusion of

different titles and job descriptions being bandied about. This can include anything from DIT, DFT, data manager to asset management and more. The evolution of the DIT can be traced back to the early days of the Sony F900/1 in the USA when a DIT was required to make sure the camera was technically set up as the DoP required (gamma levels, frame rates and so on). In recent years, the role has expanded to encompass all kinds of data/file-based work.

WorkflowsThe specific role of the DIT/DFT on any one shoot tends to be governed by the tasks required by the particular camera system chosen to achieve the photography on that shoot. Each system has its own ‘workflow’ and can require a DIT/DFT to assist in any or all of the stages, from prepping the camera for filming, right through to making sure the daily content deliverables and archiving tasks are safely completed.

Tape vs dataIn the early days of digital cameras there were only a few to choose from. The Sony BVW400 Beta SP system was succeeded by the Digibetas and for a good few years essentially one system dominated. Now, we have so many codecs and file formats available, the choice can be quite bewildering. P2, XDCAM, SxS, DPX, R3D are just some examples of the recording codecs around, then add into each codec the different models of camera as well. and the range of options and variables can become quite mind-blowing. Gone are the days of shooting Beta and the job ending with handing

www.gtc.org.uk DITs and DFTs

What does it all stand for?DFR digital film recorderDFT digital film technicianDIT digital imaging technicianDPX digital picture exchangeLTO linear tape-open – open standards magnetic tape data storage LUT look-up table

Fact FileDaniel Mulligan is a cinematographer/camera operator and has recently become a GTC Council Member.www.rogueelementfilms.comTel: +44 7866 447564

To book a place on the GTC DIT/DFT workshop at the P2 Experience Centre at Pinewood Studios on 28 August, visit www.eventelephant.com/GTC-2010Awards

The DIT at work on set

P2 portable recorder hooked up to portable hard drive

Multiple models and formats - Panasonic AG-HPG20 with Sony HDCam SRW1 deck