RED CAMERA

My experience with the Red One camera and my first work as DIT began with the third camera body to reach the shores of the UK. I babysat the camera, in its infancy, at tests and R&D days for the BBC. I have advised on backups and on set procedures for films and commercials featuring talent such as Robert Carlyle and Daryl Hannah. I have supervised multiple camera teams on high profile commercials such as T-mobile's recent 'Dance' and 'Sing-a-Long' adverts.

Roles I have taken on with the Red include: Camera Technician, Camera Supervisor, DIT/Data Wrangler, Camera Assistant. I focus pull, and am a confident camera operator.

I also teach a course on the camera and its best working practices for VMI hire. More information here.

The Red Camera is no longer a new camera but there is still some confusion about the role of the DIT. For clarity's sake my version of the job description is below.

Like any other role on the callsheet, the DIT's role is variable dependent on the requirements of the shoot, but his duties can include:

- Setting up the camera at the beginning of the day

- Configuring menu options such as Project settings, Look files, Metadata etc to DOP's specifications

- Assist camera crew where necessary with settings, menus, changes to configuration (2K, 3K, 4K, variable frame rates etc)

- Advise monitoring options, playback etc

- Provide technical information to DOP to assist him with choices regarding settings, exposure etc

- Troubleshoot and provide technical support 'in the field'

- Set up DIT station (requiring uninterrupted power supply) with laptop and hard drives for backing up rushes

- 'On the fly' options for remote locations without access to electicity are available, please be sure to mention this as early as possible

- Establish with the camera team a system for labelling and travelling digital 'mags'

- Transfer, back up and verify integrity of all footage as soon as possible so that Production/1st AD can be notified immediately of any problems

- Keep a data report detailing all the files, folder names, slate numbers and more information as required

- When data backed up twice and its integrity proven, the digital 'mag' is wiped and sent back to the camera team

- High quality playback available, with 1:1 pixel zoom function through RedCine

- Can perform first light grades, and export look files or single frame TIFFs for reference (without affecting the raw footage, of course)

- If necesary, can render out clips for use in Final Cut Pro to perform short edits

-At the end of the day the DIT delivers two hard drives with copies of all the day's footage, with a data report to help Post-Production find their way around the data.

The DIT/Data Wrangler role cannot be doubled up with any other role on set, as file transfers and data verification are time consuming processes that cannot safely be interrupted. But when I work in this capacity I am constantly available to the camera team for technical questions from 'What is the best way to expose a low key interior scene?' to 'Why isn't the viewfinder working?', and all troubleshooting and advice.

Sometimes I am employed in the capacity of a Camera Supervisor and or Consultant where I will look after one or more camera teams on a larger shoot, working alongside the Production Company in pre-production on the Red-specific logistics of the shoot, setting up the camera appropriately for the requirements of the shoot, answering questions, advising and troubleshooting the cameras when needed.