{"id":804,"date":"2010-05-17T10:42:12","date_gmt":"2010-05-17T18:42:12","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=804"},"modified":"2014-06-04T21:58:16","modified_gmt":"2014-06-04T21:58:16","slug":"if-its-digital-they-will-come","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/if-its-digital-they-will-come\/","title":{"rendered":"If It\u2019s Digital, They Will Come\u2026"},"content":{"rendered":"

\"\"<\/p>\n

Atlanta Mega Digital Summit Keeps Industry Trends Front and Center<\/strong><\/p>\n

<\/p>\n

We all remember those voices Iowa corn farmer, aka Kevin Costner, heard back in 1989 in Phil Alden Robinson\u2019s Oscar nominated Field Of Dreams<\/em>, exhorting him to give the people what they want. In Costner\u2019s case it was a baseball field; in the more recent example, at the Guild-sponsored Mega Digital Summit in Atlanta this past January, it was the more than 80 IATSE Local 600 members who flocked to the shimmering playing field that is new media: directors of photography, 1st and 2nd AC\u2019s, digital imaging technicians, loaders and operators all assembled at the Atlanta Airport Hilton for a weekend dedicated to the advancement of digital technology in the motion picture industry.<\/p>\n

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Events included panel discussions on tapeless recording, the relationship between director of photography (DP) and the digital imaging technician (DIT) and on-set color management. A union meeting was held with ICG Officers – vice president Rusty Burrell, secretary\/treasurer Alan Gitlin, sergeant-at-arms Michael St. Hilaire – along with national executive director Bruce Doering, central region director John Hilsman and business representative Jack Nealy. There was also ample time for members to network and meet-and-greet.<\/p>\n

\u201cEvents like this make it clear that our union is doing everything they can to make sure we\u2019re as qualified and prepared as we can be for all this new information that is coming out,\u201d expressed Chicago-based 2nd AC Shannon DeWolf.<\/p>\n

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Panelists included seasoned directors of photography, experts in color management and digital capture. And more than 15 exhibitors, including Panasonic, Abel Cine Tech, ARRI, and Band Pro Film & Digital, Inc. donated their time and expertise to members looking to get up close and personal with new digital equipment. \u201cWe are training for the future with cutting edge information and events like this,\u201d affirmed national training committee chair Mark Weingartner, as he kicked off the weekend.<\/p>\n

Dave Satin, a DIT and seminar panelist from New York City, candidly stated that, \u201ctapeless recording is here to stay \u2013 for economic and technological reasons it fills the bill and allows the workflows people want to have to be successful.\u201d Still, with the advent of on-set data-based workflows, there is a discrepancy between capability and execution, as Weingartner described. Echoing his peers he explained that, \u201cwe want<\/em> to go tapeless, but we\u2019re stuck as to how to reconcile that on the backend.\u201d<\/p>\n

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Training platforms, like the recent Data Handling Seminar, held in Los Angeles, Chicago and New York are the best way to keep Local 600 members up to speed on file-based and tapeless recording. Matt Jackson, a 2nd AC from Atlanta, talked about his experience in Chicago, where he had arrived with preconceived notions. \u201cThey all got thrown out the window,\u201d Jackson remarked. \u201cA lot of techniques we were coming up with on projects were wrong and going to the seminar really cleared a lot of that up. I came back to Atlanta and told some colleagues how the union is trying to get a standard going and everyone was on-board.\u201d<\/p>\n

Other members who attended the data handling seminar said they felt better-equipped to handle new equipment on jobs. \u201cI took several good tips and even used them on a job the following Monday,\u201d Satin observed. In response to the pressing need for standardization, Weingartner highlighted that, \u201cstandardized metadata\u201d is in the works, with the American Society of Cinematographers (ASC), the Academy of Motion Picture Arts and Sciences (AMPAS), the Society of Motion Picture and Television Engineers (SMPTE) coming together to make it a reality in the near future. \u201cIn the meantime,\u201d stated panelist and DIT Gary Adcock, \u201cwe have to understand what it\u2019s being used for and how to handle it properly.\u201d<\/p>\n

Panelist Jim Thomas is Panasonic’s P2 application workflow engineer. He\u2019s a Local 600 member and he explained further the discrepancies with new technology and equipment adding that the hard part is, \u201cthere is no right and wrong when it comes to digital filmmaking. The mystery is only solved when a standardized process is created.\u201d Which is precisely what Local 600 is attempting to do with digital training and seminars. \u201cJust the same way you were taught to load a magazine,\u201d described Satin, \u201cyou\u2019re taught by brothers and sisters [at these seminars] who know what they\u2019re doing so you develop a methodology that leads to success every time.\u201d<\/p>\n

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Another avenue to success would have been to attend one of the DP\/DIT panels and discussions held over the weekend. Attendees testified they were among the most informative and valuable sessions. Panelist and DP Paul M. Sommers (The Vampire Diaries<\/em>) aptly noted that \u201cthis is a place where we can sit down and have an open and honest discussion about our profession. Without that how do we present a united front to the producers?\u201d<\/p>\n

The panelists went on to reveal how in a perfect world producers would understand that a DIT is an integral part of what the DP does on the set of a digital shoot and would hire accordingly. Unfortunately, this challenge remains the biggest obstacle with studios and producers in the ever-advancing digital push in film and television.<\/p>\n

\"\"<\/p>\n

\u201cWith film, [DPs] had a very technical job but it was discreet,\u201d explained Sommers. \u201cThe cameras were less complicated, the target was bigger and the expectations of what we had to achieve on set were smaller. Now I\u2019ve acquired the responsibility of coloring dailies at the same time I\u2019m shooting the show. From that perspective I\u2019ve taken on another job classification and without my DIT, Nathaniel [Miller], we\u2019d go two hours longer every day.\u201d<\/p>\n

Cinematographer Roberto Schaefer, ASC (Quantum of Solace<\/em>, The Kite Runner<\/em>) credited the seminar with continuing open discussions on how best to approach new issues when there are no specific guidelines for what a DIT does. \u201cWhen I work on digital shoots I don\u2019t like to be without a DIT. They are my tool on the technological side and my partner on the creative side,\u201d Schaefer said. Liam Dale, a Local 600 loader from New Orleans, echoed Schaefer, adding, \u201cif we don\u2019t give our DPs the technical backup they need on set, we start forcing them to spend time solving problems they shouldn\u2019t need to worry about.\u201d Schaefer made it clear that it is a high priority of his to make sure he and other DPs impart the importance of this integral relationship on producers \u201cbefore it gets to the \u2018What does a DIT do?\u2019 conversation.\u201d<\/p>\n

So what does a DIT do? Panelist Miller\u2019s non-technical answer was concise and as clear as a non-standardized job position can be: \u201cThe DIT handles and maintains solid image and signal and workflow throughout the entire process \u2013 from pre-production to final color. [We] hope to be an agent of assistance as far as maintaining [the DP\u2019s vision], with solid technical data needed to accompany it. Half the battle is educating the producers and the other half is merging into the camera crew.\u201d Miller elaborated on the key crew relationships saying how his relationship with Sommers is just as important as with the 1st AC, the 2nd AC and on down the line. \u201cIf the department doesn\u2019t work together, it will fail.\u201d<\/p>\n

In light of the cost-cutting mania that has become standard practice in the motion picture industry in the last five years, it has become necessary to have directors of photography who will fight for DITs. \u201cDITs are not expendable and we have studios saying they are,\u201d Doering insisted. Sommers added, \u201cAs a DP, my argument for [my DIT] is that I need someone out in the field who knows every minutiae of detail of our digital capture technology.\u201d<\/p>\n

The final panel of the weekend dealt with on-set color management. Weingartner, who moderated the panel, described the goal of on-set color management as the transmission of the artistic intent of the director of photography. With the increase of on-set color management it is becoming even more necessary to keep an open line of communication at every point through production and post workflows. However, not every project out there will create looks on set, so it\u2019s up to DPs and DITs to \u201cexpress its merits to producers in the shooting and post process,\u201d explained L.A.-based DP and colorist Andrew Huebscher.
\n\"\"<\/p>\n

On-set color management and new equipment to support it, such as IRIDAS\u2019 SpeedGrade OnSet and the 3cP System from Gamma & Density (both presented at the summit) is another indication of the changing workflows on digital sets. Schaefer, also on the panel, said that on-set color management was vital in order to keep the image control in the hands of the cinematographer and not under the purview of post-production. \u201cYou must thoroughly test your workflow to filter out any hiccups or surprises,\u201d added Huebscher, who agreed that on-set color grading is one of the many ways the lines are blurring between production and post.<\/p>\n

\u201cThe blessing and the curse in the digital arena is that there are so many opportunities and capabilities with color management,\u201d added Weingartner. \u201cThe trick is in creating a feedback loop between yourself and the colorist that ensures that the images people see look the way they are supposed to look.\u201d<\/p>\n

This year\u2019s Mega Digital Summit was a deviation from the format done in previous years. \u201cAs well as the seminars had been working,\u201d explained Weingartner, \u201cI felt we could tailor them better to the individual needs of the members. The new format of multiple exhibitors\/vendors and multiple optional panel discussions grew out of discussions between myself, Lewis Rothenberg and Rusty Burrell, with some input from Gary Adcock.\u201d This year\u2019s event was put together primarily by Burrell and John Johnston of PERA. Weingartner created and oversaw the panels and national office event coordinator Joanna Mousseau handled most of the logistics. Gitlin was also involved in planning and execution.<\/p>\n

\u201cThis [Mega Digital Summit] was an experiment, and judging by the feedback during the event it worked quite well,\u201d concluded Weingartner. President Poster added, \u201cThis is achieving the dream of the officers and the board to make sure that our members have the best skill set in our industry. What we do for them is all about jobs, jobs, jobs.\u201d<\/p>\n

\u00a0By Valentina I. Valentini<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Atlanta Mega Digital Summit Keeps Industry Trends Front and Center<\/p>\n","protected":false},"author":1,"featured_media":4013,"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":[10],"tags":[],"class_list":["post-804","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-web-exclusive"],"acf":[],"yoast_head":"\nIf It\u2019s Digital, They Will Come\u2026 - 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\/if-its-digital-they-will-come\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"If It\u2019s Digital, They Will Come\u2026 - 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