[Tig] dailies

Erik Hansen erik at monkeyswithchopstix.com
Tue Feb 23 03:27:40 GMT 2010

I won't get into hardware/software (because not fully aware of all the  
subsystems involved) but will make some observations...

Double-sound is still the norm and will continue to be so. At some  
point you have to sync picture and sound. "Telecine" dailies is still  
often the most efficient place to do this (tape/film source).

Tape-based shows also are very much interested in having reels made  
that are not the camera negative. As well as production not wanting to  
see all the material, only circle takes. So it is very common to make  
new tapes with new timecode of sync'd circle takes only. The benefit  
of this process is that it is already setup for ALE/FLX production as  
well as visual notation of problems in production - soft focus, boom  
in shot, etc... Basically the same as film based productions. These  
shows tend to still be cut in SD with DVCAM being the standard  
deliverable. We also continue to use Avid MST systems for OMFI-based  
SD (14:1) productions as this is tied directly into the telecine  

Additions to this process depend on the camera, F35/Genesis/Viper the  
new tape (can't recall terminology at the moment) will untouched by  
the dailies colorist. DVCAM (or other working tape) will have LUTs  
applied or will have a correction applied (or combo of both).

The biggest problem I see for HD offline is that there are no current  
existing systems that can replicate this baseband workflow. The  
digitize is always a secondary/additional step for FCP/Avid. MTI  
Control Dailies may have the ability to create offline media, not  
really sure. As well as Bones, but as I am aware the benefits of those  
systems is their (entire) file-based workflows. I would love to hear  
how others may be approaching this problem.

File-based shows, depending on format may follow the above process if  
a playback system (with RS422) is available (S.two via their own  
playback or DDR [Spectaoft Rave]). Or if second unit and show is tape  
based may just layoff to tape (SR/D5) and start back at the telecine  
list process or a deliverable (DVCAM, offline media, etc) is made.  
Sometimes it is just used for the online session.

Red is a different process entirely bit for editorial biggest issue is  
that is far easier to work in HD for the offline edit. Due to Reds  
rapid deploymment of camera firmware and software compatibility  
issues, I feel that using their software is the best way of dealing  
with new "color science", etc... Last year this was Red Rushes, Red  
Alert. Now we have RedCineX (RocketCineX) with Red Rocket hardware.  
While third party developers are still working around the SDK.  
RedCineX and the Red Rocket are on their to actually making dealing  
with the Red in post useable. With a Tangent Wave, Red Rocket and Red/ 
RocketCineX with it's Lift/Gamma/Gain controls, it's possible to have  
a dailies colorist (instead of a data manager or DIT) do a color pass  
before editorial gets the footage.

More later or questions if asked, but this is being written on my  

Erik Hansen
Technical Supervisor
Modern VideoFilm
Datalab/Digital Media/VOD



If you understand everything, you must be misinformed.
      - Proverb, (Japanese)

On Feb 19, 2010, at 10:56 AM, Steve Hullfish <steve at veralith.com> wrote:

> Sohonet http://www.sohonet.co.uk sponsors the TIG.
> 2030 subscribers in February 2009.
> Company 3 supports the TIG.
> ====
> Thanks for some good info.
> I am talking about dailies and off-line editing, so shooting on  
> HDCAM SR and then transferring to Bluray for producers,etc and DVCAM  
> for the off-line editors and sound folks seems to be the way it  
> would go, but I have no experience, which is why I asked the  
> question. Basically I'd think that just because you have a high-end  
> acquisition format, you wouldn't use that through the entire  
> workflow. So I was looking for what workflows and products are used  
> to get the ACQUISITION format to more of a WORKING format. For  
> example HDCAM SR to DVCAM or 35mm OCN through telecine directly to  
> Prores on a hard drive (obviously with D5 or HDCAM SR at the same  
> time for conform/archival). Your answer was very useful. Thanks.
> I know this is the TELECINE list, but I figured that really it's  
> colorists and people who may touch dailies through some other method  
> than telecine.
> On Feb 19, 2010, at 12:47 PM, Joe Owens wrote:
>> Going to another tape would seem to be a total waste of time -- but  
>> I have heard of some networks ingesting HD source to DBeta or  
>> BetaSX and so on, then digitizing and/or editing tape to tape (!)  
>> in a News/Online from there.
> _______________________________________________
> http://reels.colorist.org
> http://tig.colorist.org/wiki3

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