Vehicles fully fitted to process digital data from cameras – the dailies, colour grading
We’ll provide you with DIT’s services and mobile On-Set Labs – post-production labs on wheels equipped for backing up and processing data from digital movie cameras; for grading colours; synchronising sound; QC; making the dailies for editors, VFX, directors and/or producers. Everything thoroughly and safely backed up, incl. LTO.
How does it work in practice?
The design puts safety and mobility before everything. The labs are ready for action in five minutes of when they reach their destination. For power supply they rely on their own genny in case the power grid is unavailable. Our DIT will take care of the technical jobs about cameras and their reloading. With the reloaded material ready, the DIT will back it up, grade colours, add sound and prepare the dailies for the edit station (Avid, FinalCut…), for producers, for the director, for VFX, or he/she will make other formats if so needed. Moreover, the DIT will look after distributing the dailies and supervising the delivery of individual shots to the relevant departments.
Dailies? “Hourlies” would be more to the point
The dailies are completed for the wrap on the same day (save for a few final shots) and the producer, director or DoP will be able to inspect their own shots in car on their way home, using e.g. the iPad.
Is that all?
We can make streamable dailies so that they can hit the internet the same evening. All is duly safeguarded – the rights, private files and other items can be set without any limitations. The system can also serve to distribute editorial cut of scenes or entire projects.
Archive on wheels
The labs are fitted with a huge 60 TB Raid array, big enough to safely backup most of the projects as a whole so that even data stored during the last several dozen days can be retrieved when needed.
Smaller projects can take advantage of our reduced version of the on-set DIT cart.
For ambitious projects we can offer Live Grading performed directly on set in cooperation with DoP and covering as many as four cameras simultaneously. A sophisticated system of metadata allows that all colour corrections the DoP may consider desirable are available for the entire post-production process (i.e. the dailies, the editing and the final grading), making the job cheaper and less time consuming.