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Skyler Proctor


DIT
Data Management
Digital Loader

 

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SCROLL DOWN

Skyler Proctor


DIT
Data Management
Digital Loader

 

Scroll down for more

 

Digital Imaging Technician

Backups • Client Monitoring • Transcoding • iPad Dailies • LiveGrading

Editorial • Reports • Imaging Consulting • Wireless Camera Control

 
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Rolling Video HQ


Rolling Video HQ


 

Never far from the action

An entire arsenal of video tools is secured on wheels, ready to roll wherever camera goes. Not going somewhere carts can go? Everything is modular and ready to quickly disconnect from the cart to travel up stairs, back of cars, or where ever production goes. 

 
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Media Workflow


Media Workflow


 

SECURE. verify. analyze.

Multiple formats, multiple cameras, secure copies made quickly, organized, analyzed, synced with sound and converted to dailies and/or editing proxies.

Transcoding/Dailies:

  • Sound Sync
  • To almost any format: Prores, DNxHD, iPad/iPhone MP4s, .AVI, .MOV, and more
  • To any resolution: 6k, 5k, 4k, UHD, 3k, 2k, 1080P, 720P, 480i or custom resolution (its not recommended dailies get uprezzed in most cases and requires a conversation prior to shoot day)
  • De-squeeze Anamorphic footage and on 16:9 cameras used with anamorphic lenses, crop to desired aspect ratio
  • Apply LUT, Live Color Look, Rec 709 and other image adjustments such as cropping a 1.85:1 image to 2.40:1 for Dailies
  • Imprint names and timecode

Recorder Formats:

  • Codex Onboard S
  • Convergent Design Odyssey 7/7Q/7Q+
  • Video Devices Pix 240, E5/E7

Backup Workflow: 

  • Checksum verified to ensure data integrity.
  • Battery backup to protect against power loss.
  • Multiple copies at the same time for efficient workflow.
  • Organized in clear, concise folder structure, editor friendly (can be adjusted to meet specific editor's/production's needs)

Camera Formats:

  • Arri Alexa Classic/XT/SXT, Amira, and Alexa Mini - Prores, DNxHD & Raw
  • Canon DSLR, C100 MkI & MkII, C300 MkI, C300 MkII - Raw & Compressed, and C500 - Raw.
  • Red Weapon, Dragon, Epic, Scarlett, and Red One - Raw, Prores, DNxHD
  • Sony F55, F5, F3, FS7, and FS700 - Raw and Compressed
  • Blackmagic Classic, 4k, Pocket Cam, Ursa, and
    Ursa Mini - Raw & Compressed
  • Panasonic GH3 & GH4 - All Formats
  • GoPro Hero 2, 3, and 4 - All formats
  • Aja Cion - Raw & Prores
  • And More!
 
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Live Color Workflow


Live Color Workflow


 

1st color pass. on set. LIVE.

 
 

Benefits:

  • By being able to see the intended look live, the DP, Director, and the crew can better analyze shots to be more efficient in setting up, solving problems, and be more accurate with the final look
  • Problems that normally don't become obvious until the color stage in post can now be identified on set and fixed with relatively little effort 
  • By doing a 1st pass, the colorist already knows where the DP wants to go with the footage and saves time in the color suite. In some cases the LUTs created on set can even be tweaked and used for final color.

Live Color:

  • 1st Color pass is done live on set, prior to the 1st take
  • 2 sets of hardware allow for Live Coloring of 2 different cameras side by side on matched monitors and the ability to cycle through camera feeds if more than 2 cameras.
  • Every look created in Live Color on set, even multiple looks for the same shot, are saved as LUT files along with detailed reports and stored with the footage. These LUT files can be applied in many popular editing and post software, ensuring that throughout Post the original look created on set is available for reference and/or as a starting point.
  • Live Color Look can be applied to the dailies so they look just like what you saw on set.

 

 

 
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Monitor Workflow


Monitor Workflow


 

What are you really looking at?

Video Signal Distribution:

  • 20x SDI inputs, 20x Outputs, right on the cart

  • Camera feeds always run directly to the cart, and then can be distributed to multiple sources, such as DP monitor, Director Monitor, and/or Client Monitor. All monitors run to the cart making for much more efficient runs and cabling on set.

  • Because the monitors all run through the cart, a single log/flat feed from a camera can be routed to multiple monitors in different formats. DPs can see Log at the same time the Director looks at a LUT at the same time the Clients look at Rec 709. And at the push of a button the processing can change from Log to Rec 709, Rec 709 to the Live Color look, or from any look to any look, all without slowing down the camera crew or affecting the other monitors on set.

  • DIT Kit includes 500 feet of premium SDI cable  in varying lengths.

Accurate Monitoring: 

  • (2x) 17", Color-Critical, Flanders Scientific Monitors
  • Full 10-bit panels can display up to 1.073 Billion colors vs 16.7 million colors on the average production monitor 
  • Both monitors are calibrated for exacting reproduction accuracy every single production day.
  • No matter how good, no matter LCD or OLED, every monitor drifts colors and brightness overtime; when was the last time the monitor you trust had calibration?
  • Any additional production monitor(s) that have SDI in, can be calibrated using a LUT box (by request, may have an additional kit fee per monitor)
  • 6x6 Pop-up tent creates blacked-out room for monitoring, complete with D65 white point light for accurate color perception.

Hardware Scopes:

  •  Dual 8" monitors with built-in Hardware Scopes offers Waveform, Vectorscope, RGB Parade and Histogram in full screen, side by side.

  • Allows the DP and other crew members to see the image live and still be able to simultaneously view a full screen 8" Scope to verify the footage is in the legal video range and isn't blown out or crushed.

  • View Scopes from Log, Rec 709, LUT or Live Color look, independent from Monitors; so if the monitor is displaying a LUT, the Scope can be displaying the Log.