a blog for and by digital imaging specialists
It is now available for download here:
http://www.adobe.com/support/downloads/detail.jsp?ftpID=3648 (MAC Download)
To help save you time. The RAW plugin needs to go into HDD > Library > Application Support > Adobe > Plugins > CS3 > File Formats – Replace the old one. The DNG application just needs to be dropped in the applications folder. You launch it to run it.
Now start convertin’ those Phase RAW files.
Adobe announced today that they will be releasing Adobe Camera RAW 4.1 which will support RAW formats for a whole slew of new cameras, but most importantly the Phase One H 20, H 25, P 20, P 21, P 25, P 30 and P 45. There will also be support for the Canon 1D Mark III. Although the download is not available yet, it will be located here
After floating around the tech community for at least a few weeks, Leaf has made LC11 available for download on their site. Sporting a polished look and increased functionality, I’m eager to test it asap. It does seems that Leaf has decided to move on from v10, which had a few issues from the start. I’m just glad that we’re finally getting workable software that allows to get the most out of otherwise outstanding hardware.
As Digital Techs we are responsible for and always dealing with all the major troubleshooting issues. When you are in the thick of it all (top talent on set, photographer getting impatient) the easiest solution may not come to you all so immediately – The FireWire cable. With Phase One backs it’s a quick fix as the back connects in a few seconds. With Leaf it’s a little riskier. It could take up to 45 seconds to reconnect the back – if the FW cable was the culprit to begin with. So with this in mind, it’s best to understand the details and specs when making an informed decision on the purchase and use of FW cables.
First we need to understand transfer rates for the different cables. Currently we have FW400 & FW800 cables with FW400 being the most prevalent until the new Leaf DB’s come out. The Leaf 75s, 65s and 54s will all utilize a FW800 connection. Most misinterpret the FW400 to mean 400 megabytes(mb) per second when in fact its 400 megabits per second (Mbps), which translates to about 49 mb/s transfer at max. 
Whereas the FW800 is about double that speed. The new Leaf backs boast that they will utilize the ENTIRE capability of the FW800 and judging by previous performance speeds (Aptus 75 = 90MB file = 1.8 seconds a frame), I don’t doubt it for one second. The P45’s have been slower regardless that the manufacturer uses a lossless compression that reduces the file before transfer. That compression may account for the slowness in speed but we don’t really know for sure. All we know is that there is a bottle neck. Though, to Phase One’s credit, the P+ series achieves faster speeds without the FW800, just not as good as Leaf. FW800, as I am sure many of you have witnessed isn’t the most stable connection in that it slides out a lot easier whereas the FW400 connection seemed to lock and hold into place a little better. However the tradeoff may be acceptable for one reason.
FW800 supports lengths up to 100 meters. FW400 is rated at no longer than 4.5 meters – that’s 15 feet. But almost everyone I know has 30ft cables. And almost every one of those people has problems. All digital backs and DSLR cameras ship with cables no longer than 15 feet, yet photographers go out of their way to buy longer cables. What they don’t know is that once you go beyond 15 feet you start dealing with attenuation – a breakdown and general loss of quality of the signal which can result in noticeable file corruption, connection errors, longer capture rates and worst of all, added noise.This will cause the file to start looking overly contrasty and muddy in the shadows but may not be apparent in preview on-set. (Just to note: this doesn’t always happen). A somewhat bulky solution is to use a powered repeater after every 15 feet of cable. 
Phase One sells a repeater + battery system that I find to be completely flawless. The repeater regenerates and amplifies the signal so that it can get down the rest of the line and ultimately reduces the likelihood of errors on the computer end. . The cost is a little higher for this solution but the tradeoff may well be worth it.
There are also many misconceptions about FW cable brands and what should be used. I’ve seen cheap cables work and I’ve also seen them fail miserable and I see them fail more often than not. The cables that both Phase One and Leaf supply are of very good quality although very expensive. The thing you have to understand about all FW cables is that they are somewhat brittle. All cables have specs for how much tension you can put on them and how much you can bend them. Therefore it is not a good idea to pull them too swiftly or wind them too tight. Obviously its best to avoid stepping and tripping over them and its also a good idea to take time in between shots to disconnect the cable and unravel it. It tends to get a bit kinked up and kinks are not good. Proper maintenance of the cable will ensure a longer life. You’ll see the errors on your side. Both Phase and Leaf will have a delay on the captures coming in, more intermittent disconnections and corruption of files.
The general idea here is that you should invest in a quality cables understanding first where the quality lies and then take time to maintain the cables so that you will have less problems with them.
The rule of thumb is to always have two cables on hand and no, the cable that didn’t work on the last shoot is not a backup cable anymore. It’s time to invest in a new one. I don’t suggest buying a new cable from your manufacturer. Those are costly. Instead look into Granite cables. They are less expensive and of really great quality that you can depend on. They make 30ft FW400 cables, but again, I’d avoid them. Eventually they die or start causing problems so in the end they are just a waste. Often times you are on shoots where the photographer or someone else is providing equipment. In this case it might be a good idea to have a backup cable in your kit. If you have to use it, then YOU save the day and YOU will be the first person that photographer calls the next time because he knows he can count on you to save his ass. The most important thing is now you know that whenever you are having problems check the FIREWIRE CABLE FIRST!
It looks like the server went down for a few minutes. Not something on our end, but something with the main server hosting our account. We’ve backed up the server since then, including our databases and all should be up and running ok now.
hiccups 
As Eric mentioned earlier, the set cart is your domain but if you want to control it while still keeping everyone happy then you have to handle it all very tactfully. In just about every situation, you can state your case without pissing everyone off. Here are some tips on how to keep control of the set cart
1.) Sit on an apple box.
I know it is really uncomfortable but it helps in many ways. It keeps you low to the ground out of the way of people who need to see the screen. I always keep myself off to the left or the right of the screen so that the art director and photographer can see what is going on. Also if you get up for a coffee someone may sit down, but they aren’t going to stay there long.
As for your comfort, you don’t always need to sit. In fact, its not all that good for you to sit that long. 2 words – blood clot. People who sit all day are more susceptible to them.
2.) Tie a trash bag to the cart
That way you can throw trash away from the cart as it accumulates. And maybe if you’re lucky, other people will catch on. But its not just trash that ends up on there. I’ve had brushes and compacts from makeup artists, scissors and hairspray from hair stylists, pins and a-clamps from stylists.
3.) Mouse pads that make statements
A photographer that I work with has a mouse pad that says “Please don’t touch”. You can custom make yours to say “Go Away!”. That might not bode to well for your longevity with that crew, but then again, they might just find it funny.
4.) V-flats all around you
Make yourself a little room out of v-flats. Keep it small and tidy and a lot of people really won’t bother to hang out there too much. V-flats for the longest time, have been used to create(in addition to other things) a closed set, so most experienced pros know that if there are V-flats around it, they probably shouldn’t go in there. It’s psychosomatic. It also makes a nice room for viewing the image as if you put the black side facing you, then you can cut out a lot of extra light.
5.) Use a Wacom
I always hear from techs about the issue of the photographer or art director coming in and totally taking over the computer while the tech needs to get the next shot setup, rename the captures, start processing the current files and then backup the job. But other people hogging the computer cut them out. My suggestion is to use a Wacom tablet with the pen…not the mouse. When you need to step away, take the pen with you. Its a subtle way of saying, “Please, don’t touch”. And it works. You can actually even leave it there too. Because a lot of people get confused trying to use the pen.
6.) No matter what always be nice and say it with a smile.
Just say, “May I get in there for a minute, I’ve got some work today. Usually they will say, “I’m sorry”. Say, “No worries”. One thing that really irritates me is when the art director stands over my shoulder breathing down my neck and then says, “I bet you hate it when people stand over you like this”. It actually doesn’t bother me when people stand over me, just when they make THAT comment. And if someone standing over you does bother you, you need to get over it because its going to happen on every job and its a hell of a lot easier to learn to deal with it then it is to be uptight about it.
I hear all too often that most digital techs are not very nice people – that they’re introverted and rude. A lot of highly technical people don’t have very good personality skills. That’s why we get the geek label, which up until a few years ago was still a negative word. There are also a lot of unskilled people passing themselves off as techs and unskilled people who encounter a lot of problems, very easily, on set are usually under a lot of pressure and may seem short and abrupt. I know because whenever I get overwhelmed, the same thing happens to me – more mumbling under my breath and less expressing what is wrong and how soon it will be fixed. This is not a healthy on-set reaction to problems and if you want to continue working you’ll have to change that.
If you all have a flickr account, you guys can feel free to add photo’s to the our flickr group, which will show up on the right side of the page. It shows as many as ten images at random. They link back to your flickr account. So feel free to put them up. It’s our way of allowing you guys to do your own shameless promotion, on top of the fact that your name on the site link, not to your profile but to your own website! How do you like that?
However keep in mind that you have to add your web address to your profile on the profile page. You can get there by clicking here. And while your there, just go ahead and add your first and last name.
Thanks,
The Management
We launched the site today and everything is going well. We already have a handful of subscribers and it hasn’t even been 24 hours. It’s going to be great. Look for a new tutorial from me in the next few days. And again, you guys can always feel free to add something to the site. All you have to do is register. I’ve put up a rules page – just a few simple guidelines for you all to follow when posting.
Also if you guys find that the categories available to you are too limiting, let me know and I will consider adding your suggestions. And again, comments or suggestions for the site are always welcome!
One of the best parts of being a digital tech is being right in the thick of things on set. Pretty much from start to finish of a shoot, you are as close to the action as anyone and it’s from this position that I’ve seen a few things, good and bad, that I’d like to talk about. What it really comes down to is how one conducts oneself in and around the set on a shoot. The proper word is “etiquette”, but my amalgamation of set etiquette is what I call “setiquette”—a loose set of basic do’s and don’ts when on a shoot.
The first one is rather basic: introduce yourself. Make it a point to get to know all the players in the production, anyone of whom can be a potential lifesaver when on set. Many times I’ve seen someone come in and just go to work, without even as much as a hello. Sorry, but this just strikes me as plain rude…we are all working together, so identifying yourself to your co-workers should be a no-brainer, but I see it happen again and again. Please don’t fall into the “who is that?” category. I know we are all busy, and no one wants a yappy mouth, but do have the decency to say “hi”. I promise it won’t kill you.
Next is the capture cart. As a tech, it is your responsibility to organize and police the cart. That means cords neat and coiled, cart is a position where people won’t run into it, and NO FOOD or DRINKS on it. Computers, digital cameras and backs don’t work well under water. Don’t tempt fate by allowing anything to jeopardize the images everyone is working so hard to create. If you must stay constantly hydrated, a sports bottle type of push on/off cap is a better solution that an open container, but I still just don’t like it. In short, make the cart representative of the professional you are, and let people know (politely, of course) that you need your area free from clutter so you can do your job well.
Now we go to the actual on set part, and here is where I believe that every digital tech should have a thorough assisting background. You need to know how to properly set up a c-stand, which way a boom arm and knuckle go (righty-tighty), what should be sandbagged, how to dial up or down a power pack—pretty much everything an assistant needs to know how to do. Here is why…as the tech you are one of the closest people on set. If something is going or goes wrong, you need to be able to react accordingly. If a boom arm falls or a strobe head explodes, the consequences can be very serious. People can get hurt, and while not an explicit part of our job, it should be obvious to anyone who is around a set that they need to be aware and alert at all times. I recently had a situation where the assistant was moving a plugged in pack on a stand and didn’t realize that the power cord was at its limit. For whatever reason the cord was not popping out of the pack or the wall, and the whole assembly almost came crashing down. I barely had time to yell “stop—cord” before something bad happened. Stuff like this happens all the time, and the way I approach it, the assistants are the first line of defense on set, but if something is going down I’m not going to stand idly by and watch someone potentially get seriously hurt. Many times I’ve had a photographer thank me for helping out, and I think it things like that that make a difference in their overall impression of your performance. Now I’m not saying step on the assistant’s toes; if they have everything in hand, let them do their job as you would hope they would let you do yours. I’m just saying be aware. If something isn’t right, let the assistant know, and be ready if you’re called to act. Also, if you have to tell the photographer that something isn’t right, mention it to the 1st assistant, or in a low voice to the photographer where most people won’t hear. Screaming “YOU’RE OUT OF FOCUS” won’t get you hired again. Turning down a power pack without telling the assistant or photographer won’t get you hired again either.
Then there are models. Quite simply, don’t speak to them unless you have a reason to. During a shoot my attention is focused on the images coming in and on the photographer working the camera, never mind the occasional scan to see if there is a grip arm at eye level that might render me blind (in this business, eyesight is kind of important). I always appreciate it when a model thanks me for my professionalism, it does make me wonder what they’ve seen on other shoots.
Finally, I have two words. Firewire Cable. Otherwise known as “the tether”. Protect it with your life. Don’t let people stand, stomp or trip on it unless you like saying “Hold on a minute” as the connection crashes and you’ve got ten people staring at you wondering if you know what hell you’re doing. That tether is your ticket to a smooth(er) shoot. Do everything you can to preserve it, and I promise your life will go a little easier.
So that’s it. I could go on for a while about who did what and then guess what happened, but I think you get the idea. Awareness, politeness and a healthy dose of respect will get you far on set, if not life…but that’s a whole ‘nother story.
I just did this job at NBC with this photographer who flew in from LA. We shot Leaf with the H1 and it all went pretty smoothly. As smoothly as Leaf can be anyway. Throughout the day he asked lots of questions about what we were shooting – Is it in focus, its it clean, how’s my exposure, etc. And it was very repetitive, almost to a point that most people might find annoying. At the end of the day after asking me so many times he’s turns to me and says, “Can you tell I’ve been burned before”. Of course I could and I’ve seen it so many times before. The worst feeling you can have is walking on set and not feeling that you can be trusted with the job. Especially when they are paying you a lot of money. But there are so many digital techs out there just winging it. Its career suicide for them and puts the photographer in a tough position.
Thats why we’ve created this site. That is why I teach workshops on Digital Tech Training. We want better techs out there. We want to see this field grow and we want to see the rate go up because its a specialized field not down because “you’re just another assistant”.
