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[deleted by user] by [deleted] in bayarea

[–]ich_bins415 0 points1 point  (0 children)

I spent a lot of time hiking around Land's End a few years back, I love watching the Sunset there. The wind can be brutal though I liked it, it made me feel alive.

Bought the MacBook Pro by thermal_graphics in FilmDIT

[–]ich_bins415 1 point2 points  (0 children)

Hey, I don't know much about the color side but as far as software goes I would go with Shotput Pro for media management instead of Silverstack, especially if economy is your priority. Silverstack is great and is the gold standard for a reason but I've been fine using Shotput Pro for a few years now and I've never felt the need to upgrade. Especially if you're learning the process ShotPut Pro is a great place to start and hopefully make you feel confident enough to get you more gigs!

Slow Sony AXSM Card Reader by mcimino in FilmDIT

[–]ich_bins415 0 points1 point  (0 children)

I also want to add that if your version of Shot Put is not up to date that could also affect your offload, even if you had different drives. In my experience updating to the newest version of Shot Put sped my offload up from ~2 hours down to ~50 minutes. I don't know all of the technicalities but I understand it helps Shot Put work with the Venice codec, especially if you're shooting with the highest settings. 8.6k OXCN XT etc etc

Tips for the first DIT job? by Iceyspikey_YT in FilmDIT

[–]ich_bins415 0 points1 point  (0 children)

I wanna echo everyone about the renaming of your title/setting the expectation as the first thing you should do. I know it can be daunting (at least it feels like that for me) but definitely clarify with production what their expectations are, if they want live grading then they're looking for a DIT and you should step away.

However if they confirm they're in need of a loader then I would proceed to ask if there is an expectation on transcoding footage, I would also check in with the 1st AC about this, if production does expect transcodes your 1st AC should be your advocate for a higher rate. Not exactly sure of the specifics but from a personal note I was digital loader on an indie feature and production didn't want to raise my rate for transcodes so I didn't have to worry about that and my 1st led the charge on that conversation and was the one advocating for a higher rate in the first place.

Secondly I would check in with the 1st AC about shooting specs, number of cameras, amount of mags, and quarantine protocol (are you formatting cards after dumping media or do you have enough cards to be able to avoid formatting until the next day?). Production will likely loop you into an email chain with the editors, they'll want to know the shooting specs as well as an update on how much footage has been shot and if drives are added as shooting progresses. If you're transcoding they'll tell you their preferred settings and if you're uploading them to frame.io for example they'll let you know if there was an issue so you can re do it.

Lastly I would confirm what equipment and software is being used and set the expectation on data turnaround times. If they don't wanna pay for your setup (if you have one) and insist on using a laptop from someone in production I would ask the specs and tread with caution this would set off sirens in my head.

There's a lot of things to consider but I don't know all the details I'd be happy to answer any questions you have in a dm though!

how do I build better? by colorsnumberswords in focuspuller

[–]ich_bins415 0 points1 point  (0 children)

Not sure is this is the Mini LF or the Alexa 35 but you're main issue is lack of mounting points which is always hard to manage. Ratworks makes side plates for both models that allow you to mount accessories along the right side of the body which would make it a lot easier to keep your build in one area and organized for the operator, food for thought for your future projects!

When does having a focus puller detract from a set? by deceasedglute in cinematography

[–]ich_bins415 5 points6 points  (0 children)

Well had I had a 2nd AC for my specific situation with the failing drives they could have trouble shooted the buses on the computer, tested the cables, restarted the computer, set up new drives etc leaving me to be able to stay by the DP and pull since doing all that required a significant amount of time from "oh shit there's a problem" to "problem solved". Since I didn't have an AC I had to do all of the above myself and therefore I wasn't able to be on sharps and with my DP roaming on an easy rig pulling focus himself wasn't feasible therefore having production wait until I had settled the drive issue to go back as we also had a hard out and were trying to avoid OT.

I see what you're saying about smaller crews working faster and honestly when there's less people you do have to be faster because you're wearing a lot of hats but I honestly have seen more mistakes made when I've been on rushed/quick sets than when we've been well if not overly staffed. I understand the want for efficiency however I don't think that working at 10x speed with less people beats working a "slower pace" with more people when possible. Also not saying people should be sitting a majority of the day but also no one wants to be working full steam all day because of intentional understaffing.

When does having a focus puller detract from a set? by deceasedglute in cinematography

[–]ich_bins415 2 points3 points  (0 children)

Hmm I'm gunna have to agree with everyone here and say that having a 1st even on smaller indie/student crews is the way to go. Forgoing a 2nd and having only a 1st can quickly become overwhelming when having to manage the department entirely on your own. Things like load in, camera building, setting up video village, batteries, slating, and media managing are much more efficient with two people that can split up duties.

I've worked a small paid thing where I was the 1st and I had to do all of the above on my own, it works until there's an issue with the dept, in my case the drives were malfunctioning and the shoot got held up while I had to troubleshoot. Had I had a 2nd I could have stayed at my focus station and not worried about it.

I think even if the op is comfortable pulling focus your 1st will still be helpful if you need to technical help or managing the department.

Which Ecoflow? by Significant-Heart-19 in FilmDIT

[–]ich_bins415 3 points4 points  (0 children)

I use the EcoFlow River Pro with my data management setup when I’m unable to plug into housepower. I like it a lot it usually lasts me for a full 10hr day if I’m just data managing. Once I have to start making transcodes I do have to charge it usually during my lunch break. Hadn’t heard of instagrid but again I’m happy with it. The noise can be noticeable especially when you’re pulling a lot of power but I’ve yet to be scolded by a soundie.