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 A few things to know about RED Data Capture
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PostPosted: Thu Apr 30, 2009 1:32 pm    Post subject: A few things to know about RED Data Capture Reply with quote

First of all, the term Data Wrangler is not accurate and should not be used.

DIT is also a term for a position that existed BEFORE cine cameras captured digital files. It was (and still is) the job of the Digital Imaging Technician to work with live signals.

A good example of this would be on a multi-camera HD sit-com where this person matches ("paints") Cameras (sets looks) by adjusting color temperature, saturation, gain, gamma, contrast, brightness, as well as setting up proper sync, genlock, timecode, and calibrating on-set monitors.

As digital Cameras added the ability to record to file-based systems, the term DIT sometimes was used since there wasn't another category yet.

Depending on the production, the person transferring and logging files from the Camera may also have many other responsibilities.

I've worked on projects where this included being the Camera Tech (basically a 2nd AC of sorts) and had to know the complete Camera Menu system. There are times when the DP and/or ACs rely on your help to evaluate proper exposure, check focus, help set up monitoring, timecode, audio - you name it... and other times where all that is required is data backup. Also, some productions are asking for playback (Video Assist) of the transfered clips straight from the Data Capture station. You can see how on Union shows, this can get very confusing as to who (which Local) should have jurisdiction over this work.

The way I look at it (on Union shows) is that if you are adjusting live signal settings on the Camera (painting the image), this is a job of the DIT (600). If you are at all playing back Clips on set (sending out a feed to the Director at "Video Village" or even just scrubbing through them on your local Computer monitor for the DP) this is Video Assist and under the jurisdiction of the the 695 Sound/Video Local. And finally, if you are just copying files, this has not been covered in the CBAs yet, so technically, either Union should be able to do it.

Right now, all of this is being re-evaluated by the Locals, since many times you need the same person to be able to do many of these functions. I believe the Local 695 is in the best position to continue this because these Video and Sound Engineers have been doing this type of work for many many years and have the background and skillsets already.

For years, shows have had the need to capture video digitally and immediately turn it around for playback within the scene. For example, on countless shows, the Camera Dept will record Video surveillance onto prosumer digital Cameras (such as HVX-200) and will give the Video Dept the footage to backup and later playback within a scene onto a video monitor. And sound has been dealing with digital files for a long long time. The Engineers in this Union already have the experience and skillsets doing this work... not to mention that any form of off-Camera playback is under their Local's jurisdiction.

The job of Data Capture is not an entry level position, such as a Film Loader (or Digital Loader) and it does not offer a path towards becoming a Camera Operator, as many who are Film Loaders start out as to get experience. It requires years of experience with Computer operating systems, File recovery, RAID setups, expertise with the given Camera's menus and functions, Electrical (UPS setup and maintenance, proper use of location electrical setup, avoidance of ground loops, etc.), Multiple Analogue and Digital Video formats, Sound, Audio and Timecode understanding, Video Monitoring calibration and setup experience, various cables and connectors, knowledge of photography and cinematography, exposure, RAW and compressed formats, grading and editing software, backup and logging software, and on-set etiquette / presence. (This last one being extremely important as well.) If you are the best technician, but don't know how to act on set or speak with a DP or Director or Client, you won't continue to work. Proper set-etiquette often is something that can not be fully taught. You must realize the big picture and be able to work under pressure, and go with the flow of production, knowing when the right time is to discuss problems and how. Often, the DP may rely heavily on your skills to help with proper exposure or to work out an issue with the Camera. You may have to juggle many jobs - perhaps be backing up content, while looking at a 1:1 zoom of a requested clip for checking focus, then copying a file to send to someone doing on-set compositing, while reformatting a new card or changing settings on the Camera, such as resolution, framerate, shutter speed, frameguides, etc.

Of course, there may be gigs that only require a very basic need for off loading the data and logging it, but I've found these to be rare, especially once the production actually gets going.

Also, your setup needs to be secure, and mobile, since many jobs are on location or move around on each setup. Again, depending on the type of production, you may need to put some thought into designing a good mobile Data Capture Cart.

I just wanted to chime in here, because people need to realize that this is not an entry level position. It is VITAL to the project's integrity and should be considered a top priority both in planning properly and in budget. I've heard nightmare stories of people who tried to get by with a guy with a laptop, and external USB drive, and a folding table.

Don't let that be you.

As for the name, I think Data Capture Tech (DCT) works very well.

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