#Silverstack lab pc prores manuals
#Silverstack lab pc prores series

Our technician would copy these drives onto computer drives overnight (this seemed very scary and technical).

#Silverstack lab pc prores manuals

Although we had spent a lot of time looking at Red manuals and tutorials, in the heat of a shoot it was very easy to forget where menus were (Red never being good for menus) and actually no idea what to do with the Red Drives once they had been shot out. This was strange to me but as it transpired, completely necessary. Unlike other shoots I’d been on, a technician came with the camera. I was hired as the 2 nd AC (though ended up being the 1 st part way through). He also suggested that Robbie shoot on the Red, which was obviously very exciting to me on both counts. This friend had received a small amount of funding (there actually were such things at the time) and managed to persuade the very talented Robbie Ryan to DP. One, was a short film that a friend directed. As an aside, Marc Dando owned that Viper camera and would soon go on to dominate the industry as the creator of Codex.īy chance two simultaneous productions occured which would change my career path in early 2008. The less restrictive Red camera however gradually began to be used on productions throughout America and word soon spread over here, mostly in hushed tones of an industry changing camera/silly toy depending on your stance.

#Silverstack lab pc prores series

The Viper was a pioneering digital camera but dismissed by most as an unworkable novelty as it was tethered to a very large series of hard drives. I’d worked as a daily 2 nd AC on a shoot in 2007 that had shot on the Viper Filmstream. In 2007 film was still the gold standard, though things were changing.

I was surprised that not many of the people I was working with had heard about this new camera, or those who had just dismissed it as ‘vapourware’. Very early days for my career and being very enthusiastic, I would scour the internet for information on all camera formats. At that time I’d been working between being a 2 nd AC and Video Assist Operator on 35mm commercials and feature films. It had not been officially released then but a lot had been written about its potential on the internet. My first introduction to the Red camera was in very early 2007. Really, the role has been in flux since its earliest days and continues to do so, making it very hard to define. It is unsurprising as the nature of technology and budgets have developed at such an alarming rate that dramatic changes to duties and expectations have arisen.

It’s surprising as the role has been around (in current present form) for roughly 10 years – essentially since the introduction of the Red One Cinema camera in 2006. The role of the DIT (Digital Imaging Technician) is one of the most ill-defined roles in cinematography, which is as equally surprising as it is unsurprising. The purpose, other than an overview of the recent changes in technology and practice is to bring more awareness to the current application of the DIT and to aid the progression of cinematography today.

The Ever Changing World of the DIT and Digital Cinematography.Īs the 10 th anniversary of the Red One Cinema camera approaches, I thought it would be a good time for an overview of the changing roles of the DIT and Cinematographer in 2016. Home › Uncategorized › The Ever Changing World of the DIT and Digital Cinematography.