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Front Page, Industry News
Digital cinematography breeds new on-set data management position
Thursday October 29th 2009By Lowell Schrieder
Special Assignment Writer, TO411
The advent of digital cinematography has taken the production world by storm, prompting revolutionary developments in how we acquire and store motion picture images. These technological developments are not only reshaping post production workflows and creating new challenges, but they have also given rise to a coveted new on-set position; “Data Management Technician or DMT” a.k.a. “Data Wrangler.”
To realize the full benefits of shooting with a digital cinema camera, it is now recommended that productions hire a ‘DMT’ who is essentially responsible for managing the many gigabytes of data generated from the camera on set.
Kyle Kurbegovich, one of Canada’s leading authorities on data management, was able to provide us with insight on his eight-week experience as a professional DMT on the new Kids in the Hall: When Death Comes to Town TV series recently shot on PS Production Services’ RED cameras and DP’d by Paul Sarossy in North Bay, Ontario.
“As soon as the media was handed over to me on set, I was tasked with examining the footage for any errors, mechanical or otherwise with the primary objective of ensuring that all footage shot was intact and verified, without problems or red flags,” says Kurbegovich. ”If an error was detected, the material could be reshot immediately, saving expensive reshoots or post-production manipulation time. Once all the footage was checked properly, I would then back up the data in order to prevent loss, ensuring security over possible hard drive failures.”
Kids in the Hall: When Death Comes to Town had designed a specific workflow, as is recommended for each RED show and its varying production requirements. “The show had a quick turnaround so it was decided that I would do a one-light colour-grade on set to simplify and increase the speed at which we could get the dailies,” Kurbegovich says. ”Deluxe also introduced us to their new Sample Digital Web-Based Dailies Screening Room so we could get dailies the following morning; no more waiting for a disk in the mail! Therefore, I had to be extra vigilante in checking all the drives and footage with utmost scrutiny to assure that they were ready to be sent. Any potential issue could have set us behind schedule as the revised footage wouldn’t have arrived in Toronto until the following day.”
The fact that all digitally-shot union shows are now required to hire a DMT demonstrates the importance of this new on-set position. A DMT will supervise the safe storage and multiple backing up of your rushes and can also advise on monitoring and playback, camera menu settings, recording options and exposure. In a nutshell, they will help you get the most out of your digital camera system.
Front Page, Industry News
Digital cinematography breeds new on-set data management position
Thursday October 29th 2009By Lowell Schrieder
Special Assignment Writer, TO411
The advent of digital cinematography has taken the production world by storm, prompting revolutionary developments in how we acquire and store motion picture images. These technological developments are not only reshaping post production workflows and creating new challenges, but they have also given rise to a coveted new on-set position; “Data Management Technician or DMT” a.k.a. “Data Wrangler.”
To realize the full benefits of shooting with a digital cinema camera, it is now recommended that productions hire a ‘DMT’ who is essentially responsible for managing the many gigabytes of data generated from the camera on set.
Kyle Kurbegovich, one of Canada’s leading authorities on data management, was able to provide us with insight on his eight-week experience as a professional DMT on the new Kids in the Hall: When Death Comes to Town TV series recently shot on PS Production Services’ RED cameras and DP’d by Paul Sarossy in North Bay, Ontario.
“As soon as the media was handed over to me on set, I was tasked with examining the footage for any errors, mechanical or otherwise with the primary objective of ensuring that all footage shot was intact and verified, without problems or red flags,” says Kurbegovich. ”If an error was detected, the material could be reshot immediately, saving expensive reshoots or post-production manipulation time. Once all the footage was checked properly, I would then back up the data in order to prevent loss, ensuring security over possible hard drive failures.”
Kids in the Hall: When Death Comes to Town had designed a specific workflow, as is recommended for each RED show and its varying production requirements. “The show had a quick turnaround so it was decided that I would do a one-light colour-grade on set to simplify and increase the speed at which we could get the dailies,” Kurbegovich says. ”Deluxe also introduced us to their new Sample Digital Web-Based Dailies Screening Room so we could get dailies the following morning; no more waiting for a disk in the mail! Therefore, I had to be extra vigilante in checking all the drives and footage with utmost scrutiny to assure that they were ready to be sent. Any potential issue could have set us behind schedule as the revised footage wouldn’t have arrived in Toronto until the following day.”
The fact that all digitally-shot union shows are now required to hire a DMT demonstrates the importance of this new on-set position. A DMT will supervise the safe storage and multiple backing up of your rushes and can also advise on monitoring and playback, camera menu settings, recording options and exposure. In a nutshell, they will help you get the most out of your digital camera system.
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Front Page, Industry News
Digital cinematography breeds new on-set data management position
Thursday October 29th 2009By Lowell Schrieder
Special Assignment Writer, TO411
The advent of digital cinematography has taken the production world by storm, prompting revolutionary developments in how we acquire and store motion picture images. These technological developments are not only reshaping post production workflows and creating new challenges, but they have also given rise to a coveted new on-set position; “Data Management Technician or DMT” a.k.a. “Data Wrangler.”
To realize the full benefits of shooting with a digital cinema camera, it is now recommended that productions hire a ‘DMT’ who is essentially responsible for managing the many gigabytes of data generated from the camera on set.
Kyle Kurbegovich, one of Canada’s leading authorities on data management, was able to provide us with insight on his eight-week experience as a professional DMT on the new Kids in the Hall: When Death Comes to Town TV series recently shot on PS Production Services’ RED cameras and DP’d by Paul Sarossy in North Bay, Ontario.
“As soon as the media was handed over to me on set, I was tasked with examining the footage for any errors, mechanical or otherwise with the primary objective of ensuring that all footage shot was intact and verified, without problems or red flags,” says Kurbegovich. ”If an error was detected, the material could be reshot immediately, saving expensive reshoots or post-production manipulation time. Once all the footage was checked properly, I would then back up the data in order to prevent loss, ensuring security over possible hard drive failures.”
Kids in the Hall: When Death Comes to Town had designed a specific workflow, as is recommended for each RED show and its varying production requirements. “The show had a quick turnaround so it was decided that I would do a one-light colour-grade on set to simplify and increase the speed at which we could get the dailies,” Kurbegovich says. ”Deluxe also introduced us to their new Sample Digital Web-Based Dailies Screening Room so we could get dailies the following morning; no more waiting for a disk in the mail! Therefore, I had to be extra vigilante in checking all the drives and footage with utmost scrutiny to assure that they were ready to be sent. Any potential issue could have set us behind schedule as the revised footage wouldn’t have arrived in Toronto until the following day.”
The fact that all digitally-shot union shows are now required to hire a DMT demonstrates the importance of this new on-set position. A DMT will supervise the safe storage and multiple backing up of your rushes and can also advise on monitoring and playback, camera menu settings, recording options and exposure. In a nutshell, they will help you get the most out of your digital camera system.
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