Tapeless 101 - Getting started with digital video Tapeless 101 Getting started with digital video 1 Tapeless 101 - Getting started with digital video Introduction Of all the things in life to be afraid of, tapeless (aka digital or file-based) video production seems a strange one. After all, the advent of tapeless is a leap in technology that was supposed to make the process better! Certainly for all the benefits that tapeless brings, there are die-hards who refuse to move forward from the processes they have come to cherish through years of trusting them and relying on them to get through an already stressful production. Since it started to become mainstream in the early part of this century, tapeless has revolutionized video production workflows. Before tapeless, cameras stored footage on video tape (or film). To then work with that in a non linear editing system, footage had to be transferred from the tape onto a hard disk recorder. This was slow as it relied on a mechanical operation like fast forward, rewind, eject, copy and so on to happen. Tapeless removed all that and you could quickly move between and within clips. It brought many other advantages too, such as extra durability – media has no moving parts and is never subject to mechanical wear so both the media itself and the footage it contains don’t deteriorate; it gave editors direct and instant access to a precise time code and metadata; that could be attached to the files themselves. It also meant editing could be done on a single computer rather than needing specialist equipment. If you’re still not convinced by tapeless, this eBook will attempt to win you over with practical advice on how to make the most of the tech, bring genuine efficiency to your current workflow and provide future video productions with new creative passion! Tapeless 101 - Getting started with digital video Managing technology on a shoot Thanks to budget constraints and the rapid advance of technology change, the job of the modern day television producer or production manager (PM) is not what it once was. Today, alongside their many other responsibilities, the people at the top of the production chain are being forced to get to grips with what used be someone else’s domain: technology. In the ‘good old days’, the PM or producer knew that if they could make the logistics work, balance the books and hire the right people they – and the shoot – would be OK. Why? Because until recently, the responsibility for managing technology on a television shoot was someone else’s problem. Regardless of whether the show was being shot on video or film, it was possible (and encouraged) to hire small armies of highly experienced and knowledgeable people who just took care of everything. A sound recordist would record the audio. A cameraperson and his or her assistant would capture the images. The gaffer would sort the lights and the electrics. And an editor would take the pictures and sound away at the end of each day and cut it together into a beautifully crafted show. Job done. Things have changed a bit since then. It’s not simply that producers or PMs can no longer employ a camera assistant. In some circumstances they can’t even employ a cameraperson at all! This means that they now must send a researcher or assistant producer to shoot broadcast quality footage and, as a result, they are now in charge of making sure that these junior people are properly trained to do so. 3 Tapeless 101 - Getting started with digital video More pressingly they also need to be in control of where the footage is. And in this new tapeless era, that can be a big task. In truth, the best person to look after footage on a production is someone who thoroughly understands how to manage data and how to store it properly so that when it arrives at the edit, it slots quickly and easily into the pre-determined workflow. In these modern file-based times this is the job of the DIT (Digital Imaging Technician), the Data Wrangler or, more commonly, the Media Manager. These roles are fundamental now if producers and production managers want to avoid problems when shooting with solid-state, tapeless cameras. It is possible for the producer to perform the role or to get an AP or camera operator to do it, but it’s not recommended. And here’s why. On a tapeless shoot someone needs to do the following: • Check the footage back to make sure that it is all there • Maintain logical and agreed file-naming conventions • Ensure all codecs, formats and standards match • Confidently duplicate and back-up the footage • Report any problems back to the floor • Liaise with the camera operators and shooting directors to ensure that rushes make it safely and quickly back to wherever they are being stored • Ensure camera settings match across all cameras • Liaise with post-production to ensure a smooth flow of footage and that rushes are in the correct form • Provide access to rushes for viewing and so on Basically, dealing with tapeless cards, disks or drives is a bit like dealing with film stock. You have to be really careful not to lose or damage it. Tape was fairly robust but accidentally dropping a compact flash card, for example, could result in it becoming corrupt. And that means precious footage is lost forever. Dealing with technology on a television shoot has got more complicated as times have moved on. But, by taking the right steps, disasters can be avoided. And one of those steps is hiring a media manager. Even if producers don’t have the budget for a sound person, a camera assistant or a gaffer, employing someone experienced to manage the media is worth every penny. 4 Tapeless 101 - Getting started with digital video Why go tapeless? The advantages of file based production If the marketing departments of the camera manufacturers are to be believed, tapeless production is the holy grail of television: it will save you money, make your production more efficient and (probably) make you taller, slimmer and better looking all at the same time! The truth is, while going tapeless has a myriad of advantages, there are a whole host of things to consider when deciding on which file-based camera or format to use for your next television series. And reading the marketing blurb from the manufacturers will probably not provide you with the most objective starting point. Based on the opinions of camera operators, production managers and producers, here are some of the major vendor neutral ‘real world’ benefits of tapeless cameras and tapeless working: • Going tapeless virtually eliminates the need for DVD transfers • Duplication costs are also redundant as footage can be backed up and stored in several different places at almost no cost • Footage can be automatically (or remotely) logged at the same time as it is captured • Metadata can be added to files from just about any computer or mobile device • It is possible to get (almost) instant access to each and every shot for viewing, logging and editing or fast distribution via the Internet • Footage sales can be given a boost as archive shots are easy to identify, catalog and find • The camera ‘buffer’ on tapeless camcorders records 10 seconds before the record button is activated, so you should never miss a shot • Rushes can be viewed from anywhere and on just about any device • Money can be saved on courier costs and tape deck hire • As a rule, tapeless cameras are cheaper to buy than tape-based versions • Re-used correctly, tapeless media can work out cheaper than tape stock • Digital media recordings are likely to be less jittery than tape-based ones • It is easier/possible/practical to edit whilst still on-location In short, tapeless production has the potential to: • Reduce the cost of acquisition materials • Streamline the time it takes to make a show • Aid the production team by giving them better control over the footage they’ve shot • Improve the ways in which footage can be repurposed and exploited further down the line Tapeless is not for everyone. And the benefits are not automatic. Plus, there are also downsides to tapeless production (see the next chapter). But, with the correct planning and the right tools, tapeless production can be your holy grail by making your production cheaper, faster and more efficient. It is unlikely to make you better looking though. 5 Tapeless 101 - Getting started with digital video Tapeless disadvantages To provide some balance to all this ‘tapeless propaganda’, it is only fair to admit its failings. Many consultants and ancillary technology vendors are profiting from the problems tapeless creates. Some of these problems are created by users because they treat digital video in the same way as tape. Other issues are due to the fragility of digital media. • Storage - tape was a great backup, usually sat safely on a shelf, probably forever • Compatability – you may have to upgrade the software you use in order to edit your footage • Have you got it – tape felt safer and there was certainly less agonizing over whether you could keep it safe • Archive – tape provided an instant archive and all your long term storage needs were ready made • Disaster recovery - even if tape gets chewed you can piece it together, but you wouldn’t want a drive getting chewed! • Affordability - can make it prohibitively expensive for all but professionals 6 Tapeless 101 - Getting started with digital video Going tapeless: 10 top tips for a successful switch For television producers that have spent their careers happily moving boxes of videotapes around, the transition to file-based (tapeless) production can be something of a challenge.