{"id":725,"date":"2010-02-10T15:19:50","date_gmt":"2010-02-10T23:19:50","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=725"},"modified":"2010-02-10T15:19:50","modified_gmt":"2010-02-10T23:19:50","slug":"got-my-back","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/got-my-back\/","title":{"rendered":"Got My Back!"},"content":{"rendered":"
\"\"
Rodrigo Prieto, ASC & Hector Moreno <\/figcaption><\/figure>\n

The critical partnership between the DP and DIT explained\u2026\u00a0 By Pauline Rogers<\/p>\n

Before last year\u2019s feature State of Play<\/em>, Rodrigo Prieto, ASC (Academy Award nominee for Brokeback Mountain<\/em>) had done only one digital feature (Ten Tiny Love Stories<\/em> with director Rodrigo Garcia), comprised of a series of monologues that were shot with a single angle per scene. \u201cThe digital part of State of Play<\/em> (directed by Kevin MacDonald) required many lighting situations and environments,\u201d recounts the Oscar-nominated cinematographer. \u201cAnd I was concerned that additional cables, monitors, and workstations would be a burden in comparison with the rest of our movie, which was done with hand-held cameras in a very free fashion.\u201d<\/p>\n

Prieto says it was DIT Hector Moreno who relieved him of such a \u201chuge burden,\u201d and made the shoot flow. \u201cWhat I liked about digital was the possibility of grading on the set,\u201d Prieto continues. \u201cSo, Hector worked closely with Yuri Neyman to get the Gamma and Density system working properly with the Genesis. By transferring my grading to tape, we had dailies that were very close to what we intended. With Hector there, I always knew things would be ready for me when I needed them, even if there were the inevitable glitches we all face.\u201d<\/p>\n

One of those glitches was when the Steadicam rig malfunctioned, recalls Moreno. \u201cWhile Rodrigo was concentrating on what he does best, we immediately rerouted cables and redirected the video source to an HD on-board monitor in place of the down-converted signal,\u201d he shares.<\/p>\n

And then there was the added challenge of providing an image in a timely manner, shooting on a Washington D.C. train filled with extras. \u201cWhile Rodrigo and director Kevin Macdonald were mapping out the shot,\u201d Moreno adds, \u201cthe challenge became power related to generators. A simple switch to battery and neither of them knew we\u2019d had a glitch.\u2019\u201d<\/p>\n

What is it about train sequences that always seem to create challenges for the HD team? New York-based DIT Barry Minnerly references a similarly challenging moment on Hachiko: A Dog’s Story<\/em>, directed by Lasse Hallstr\u00f6m and shot by Ron Fortunato, ASC.<\/p>\n

\u201cWe were running out of time and Lasse wanted to set one camera up 1,000 feet away, shooting down toward the train, and another Steadicam with the train coming through the shot,\u201d Minnerly explains. \u201cAs Lasse and Ron mapped out the shot, I had to provide them an image. In other situations, the usual thing would be to break off the camera and put a deck on the back.\u201d Knowing video tap doesn\u2019t cut it with most DPs, Minnerly\u2019s solution was to run fiber optic cable 1,000 feet, under the railroad track, instead of moving gear on gravel and stones.<\/p>\n

\u201cBarry allowed us to see the full resolution picture and stay where we were, shooting off a central monitor,\u201d recounts Fortunato. \u201cI don\u2019t understand how anyone who shoots HD can even consider not having a DIT. Hachiko <\/em>was a perfect example of the value of both of my DITs, Abby Levine and Barry Minnerly. It was much more than the challenges we experienced with the train sequence. We had a tremendous amount of exteriors, some of which were covered with snow, so exposure in the highlights was critical. Working with Barry and Abby was extremely helpful in determining exactly when detail would be lost. Some people say you can just read the scope, but as a DP I\u2019d rather be concentrating on the lighting than be glued to a waveform (monitor).\u201d<\/p>\n

Observes Abby Levine: \u201cRon is one of the most vocal proponents of the DP\/DIT partnership in the industry. On both Hachiko <\/em>and Before the Devil Knows You\u2019re Dead<\/em>, it was far more than setting up the camera and making a LUT table for the Genesis that would carry into post. I\u2019ve gotten to know his likes and dislikes, so there are things that I pay attention to and, when we look at a scene together, I\u2019m ready to give him what he wants. Ron welcomes the input, because sometimes I make a suggestion he hadn\u2019t thought of.\u201d<\/p>\n

Minnerly, who began his TV partnership with Fortunato on 100 Centre Street<\/em>, and is now working with him on the CW series Gossip Girl <\/em>agrees, saying, \u201cRon relies on the (DP\/DIT) partnership because he wants the best image he can get from the monitor. He always has his hands on the control, often doing the iris pulls himself. He is constantly trying something new and will turn to me to ask what I can give him to accomplish his new concept.\u201d<\/p>\n

The Art and Soul of the Team<\/strong><\/p>\n

\u201cOur DITs are artists,\u201d insists cinematographer Frank Prinzi, ASC, who rotated on Mercy<\/em> with Dejan Georgevich, ASC for the first part of season one of the New York-based series. \u201cAnd I simply couldn\u2019t do Mercy <\/em>without Lewis Rothenberg. Like a DP works to get into the head of his director, a good DIT like Lewis will get into the DP\u2019s head \u2013 my head \u2013 and interpret what I want, weighing emotional content, logistics, and technical challenges. He or she is ready to weigh everything together, and give me even more than I am looking for.\u201d<\/p>\n

Georgevich agrees, describing his collaboration (with Rothenberg on Mercy<\/em>) as, \u201ca joy that allows me to create a look in the moment …much like having the color timer on the set. It\u2019s great to have that extra set of eyes contributing to the highest possible production values in visual story-telling.\u201d<\/p>\n

Rothenberg says the key to his success on the show has been because the DIT is considered a key collaborator, as important as the gaffer or key grip. \u201cFrank knows that he doesn\u2019t have to think about the technical,\u201d Rothenberg explains. \u201cAnd that I have his back \u2013 first on Cashmere Mafia<\/em>, then several pilots, and now on our back-breaking schedule for Mercy<\/em>.\u201d<\/p>\n

\u201cOne of the most important parts of my job,\u201d the DIT continues, \u201cis creating an appropriate workflow that will give post as finished a product as possible. It is a challenge to make sure what was created on the set is followed in post, especially when (post) is either 3,000 miles away, or when we have to relinquish the material, knowing that we simply don\u2019t have time to be there.\u201d<\/p>\n

\"\"
Lewis Rothenberg and Frank Prinzi, ASC, Gene Engels and Kurt Rimmel<\/figcaption><\/figure>\n

Rothenberg\u2019s words echo those of every DIT and DP working in the hyper-paced world of episodic television. There is an obligation on the D.I.T.\u2019s part to keep the creativity in the image in the hands of the camera team, often a struggle when some post houses are either not familiar with what the DP (and DIT) see as they are shooting, or take it upon themselves to lend their own creativity, at times going in a different direction than originally intended. For a DP to relinquish his\/her image to post without the details a DIT can provide, opens up the possibility for misinterpretations when the final product airs.<\/p>\n

\u201cPart of my partnership with (cinematographer) Paul (Maibaum) is to be the technical authority, especially in post,\u201d says West Coast-based DIT Andy Lemon, who worked with Maibaum on two TV projects in 2009, My Boys <\/em>(a half-hour romantic comedy) and Sons of Anarchy <\/em>(a one hour drama). \u201cPost questions come directly to me, which allows Paul to keep from getting bogged down in the small day-to-day things that pop up. This also holds true with technical issues with the camera equipment. If there is a problem, Paul will look to my recommendations on whether a piece should be downed for a short time for me to fix or to replace it all together. Keeping that line of communication allows him to adjust his schedule.\u201d<\/p>\n

Maibaum concurs, adding that when you are shooting a one-hour show in seven days you simply can\u2019t afford any down time. \u201cIn one of last year\u2019s episodes of Sons<\/em>, we had a giant biker party,\u201d the DP relates. \u201cWe noticed a bad pixel in the A-camera on the 24-inch monitor, and ran the camera\u2019s pixel masking software, which usually fixes the problem, in essence replacing the dead pixel. At some time during the two-minute process, a herd of background extras kicked out the power to the cameras. And after scrambling to repower, the camera had no image!\u201d<\/p>\n

With the first team coming in, Lemon had to reset the eight or so parameters thrown off by the power outage. He managed to get the last setting fixed and the image up just as the AD called roll. \u201cWithout him there, we would probably have had to send the camera back to Panavision,\u201d Maibaum says. \u201cBut, because he was there and knew the electronic process, Andy could get it up and running so I could make the day.\u201d<\/p>\n

Lemon points out that working in episodic television is all about finishing the required number of pages within the shooting day. \u201cIt is my job to help Paul achieve that,\u201d he insists. \u201cFrom creating efficient onset signal distribution to post workflow, I work toward eliminating any technical distractions so that Paul can get down to the creative task at hand.\u201d<\/p>\n

Digital Glue<\/strong><\/p>\n

Keeping a production on-track is key to any DIT\/DP partnership. Or as Frank Prinzi wonders: \u201cCan you imagine the time we would lose if a camera goes down and either we don\u2019t know it or we can\u2019t fix it?\u201d Prinzi says DITs are always on top of their equipment, and their focus is always to make sure that their gear works smoothly \u2013 to catch it if something happens \u2013 and to fix it, before irretrievable time is wasted on-set.<\/p>\n

\u201cWe are the digital glue that bonds the multitude of technical, creative and workflow requirements,\u201d reiterates DIT Tony Salgado, who partners with cinematographer Flor Collins on many high-profile commercials. \u201cThe proliferation of constantly evolving cameras, formats and standards has made (our roles) critical, because DITs are not only a technical liaison with all aspects of production, post production, workflow and delivery, we are a conduit to various production personnel (from camera to client) and rental houses, especially when multi-format is often the norm in the commercial world,\u201d Salgado emphasizes.<\/p>\n

Cinematographer Collins backs this up, noting that even before a commercial awards he\u2019s in touch with Salgado about sensor sizes, lens mounts, recording formats, post paths and overall camera selection for the spot. \u201cWe don\u2019t get a lot of time on commercials, so it\u2019s essential to have carefully thought out the right piece of gear for each shot,\u201d Collins adds.<\/p>\n

\"\"
Tony Salgado<\/figcaption><\/figure>\n

In fact, the cinematographer says that Salgado\u2019s blackout tent is the on-set sanctuary for viewing the image in the best conditions. \u201cOn a recent job, we were shooting quickly at an airport concourse with a lot of sunlight bouncing around,\u201d Collins recalls. \u201cThe grips were busy and didn\u2019t have time to flag the on-set monitors. One of the agency-creatives was wondering just how much detail was going to be in the shadow areas and in the hot windows. I was able to reassure him by taking him into the tent and showing him what we were going to get. And, also, in that case, Tony had done a rough grade to show the look we were going for.\u201d<\/p>\n

Such examples are one of the unappreciated benefits of having a DIT on a commercial, which even without much budgeted shooting time in the example Collins cites, enjoyed the luxury of showing the client an image that will be very close to the finished, graded look. \u201cIt\u2019s one of those little things that can help a director get repeat business,\u201d Collins concludes. \u201cYet, it\u2019s not something you can put a number on when making a budget and deciding if there is money for a DIT.\u201d<\/p>\n

On that last point every cinematographer polled for this article agrees: there is an inherent flaw in thinking that eliminating the DIT saves money. The ledger may appear lighter on the front end. However, any cost savings vanish when technical delays come in to play, thus curbing the on-set workflow between the DP, director, and all other key creative heads. Salgado puts it best when he describes the crucial partnership between DP and DIT to that of a medical team, where the cinematographer is the surgeon, the DIT the anesthesiologist, and the production the patient. Would you want to go into a challenging, time-constrained \u201coperation,\u201d he asks, without a key member of the medical team present?\u201d I sure wouldn\u2019t.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

The critical partnership between the DP and DIT explained\u2026\u00a0 By Pauline Rogers<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-725","post","type-post","status-publish","format-standard","hentry","category-specials"],"acf":[],"yoast_head":"\nGot My Back! - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/got-my-back\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Got My Back! 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