I'm a knee-slapper
See what comprises my punch line.
Keep it moving.
#setlife gets hectic. Just when you think a deserted corner is a safe spot off camera, the director decides it’s the perfect place for the next scene. With a quality cart, I can move around set and nimbly navigate to be accessible and unobtrusive at the same time.
Four wheels, no waiting.
Most people find manuals boring. As a DIT, I read the 1,100-page DaVinci Resolve manual for fun. Camera guides are my idea of a good time. I stay up-to-date with the tech side so you don’t have to. As a DP, for instance, you can focus on lighting and not the jargon-ridden camera features.
More than just dumping.
I use checksums to ensure data copies safely. Think of checksums like digital thumbprints; I verify the media transfers so memory cards can be formatted with true peace-of-mind.
Safety in numbers.
Redundancy is my bread and butter. If a hard drive fails, production fails. I utilize multiplicity so if one storage location disappears (say a flying monkey knocks it off my cart), no footage is compromised.
Now a modern city.
Gone are the days of huddling around a crowded monitor on a c-stand. I offer infrastructure that allows color-accurate monitoring with an OLED display and portable monitoring on iOS devices. If the director needs to be on the other side of the room, hand them an iPad and they can see the framing and set design wherever they are on set.
To 8K and beyond.
Footage acquisition formats are only getting bigger. With the future in mind, I have a workstation that can cover everything from 1080p up. Transcoding, playback and coloring can all be done at optimal efficiency.
Fast and accurate.
Get a feel for what your footage will look like after the color session. I can load LUTs onto compatible cameras or remotely grade an SDI output using the Teradek COLR. I can provide base grades in real time so the DP can light for the occasion, knowing what the final image will look like.
You say you want a resolution.
I control the aperture remotely to prevent over- and under-exposure, and even make indoor-to-outdoor camera movements seamless. In addition, I constantly skim your footage to verify composition doesn’t contain unwanted grip equipment or camera recording errors.
You have the power.
Power surges, inconsistent electricity and workstation peregrinations all happen. Having an uninterrupted power supply (UPS, aka backup battery) ensures your data has consistent power during generator downtime or set moves.