The image above shows the Dardo cart in action on set while BV was participating into a massive Studios camera test with 9 different digital cameras (F65, F5, Alexa M, Alexa 4:3, Red Epic, Black Magic Camera, Canon C500PL, Canon 1Dc 4K and GoPro.)
Bertone Visuals DIT cart will be showcased at Band Pro Film & Digital on Thursday 02/07/13 at 10:00AM and with a second repeated session at 4:00 PM.
The event will be focused on basic workflows for the Sony F series cameras (F65-F55-F5).
The Dardo Cart among other software uses Assimilate Scratch Lab 7 and DaVinci Resolve 9 as core apps.
What is interesting about the BV Dardo Cart is that regardless of the fact that the apps require different dedicated hardware (from AJA Kona and Black Magic Design) to output a HD-sdi video signal to the Broadcast Monitor, both world coexist seamlessly on the mobile system. This technical achievement (on a mobile post unit) has been reached by our R&D implementing a Thunderbolt dual channel technology.
With the Dardo a trained DIT can execute in a reliable way the following tasks:
1. Data Management :
- ingesting media from a wide variety of cameras ( F65-F5-F55-Red Epic-Canon C500-Arri Alexa-Black Magic Design-Canon 1Dc 4K.)
- ingesting media from 3-4K Raw Recorders: Codex S and Codex M, Sony SR4 and convergent Design Gemini.
- making multiple copies simultaneously on 3-4 shuttle drives
- executing Copies with Checksum Error Checks.
- executing a LTO-5 back-up on 1.5TB/3.0TB cartridges via BRU Producer Edition.
- check the integrity of the clips (artifacts might always be there) with a almost universal video player.
2. Color Management:
Not all the cameras today can overlay on Director’s Monitor a “nicer look” than the flat Raw for the DP and the Director. In order to achieve a non-destructive and not embedded “look”, skilled DITs or Near Set Colorists can create custom LUTs, Rec 709 LUTs with proper software that generate 1D or 3D LUTs.
Through a portable LUT box in between the Dardo Cart and the Video Village, DPs and Directors can experiment their look and send by email to the final post production facility their vision (CDL) Color Decision List.
This on-set LUT making is the main reason for the Tangent Element Panel on the Dardo Cart. In order to make the process more “ergonomic” the DIT/Colorist can seat to the right of the cart where a Boland Monitor duplicates the main GUI of the Apple Mac Pro Retina Display and he/she can watch a color calibrated Sony Oled PVM1741 below the GUI.
3. Finally, Transcoding and Audio Sync options are available and suitable for Commercials.
However, we recommend a more powerful cart such as the Bertone Visuals Dreadnought for these two tasks that most of the times require also a separated professional since in a multiple cameras environment, ingesting the media is already a delicate and compelling task.
With that in mind we used a excellent Raid 5 solution that besides being very fast it is also very reliable.
It’s reliable because it has been built with corporate rated 6G/ SAS hard-drives.
Also the 20 TB Raid has a dedicated Controller (Areca) which doesn’t interfere with the data transfer of other SAS data traffic (Codex S, Codex M, Quantum LTO-5 Drive)
I’m concluding here pointing out the fact that the Dardo Cart doesn’t necessarily require a lift gated Camera truck or a Cargo Van to be delivered on set.
Indeed, it has been designed with “modularity” in mind and it can break down in three separate modules: 1. Lid Box 2. Core Cube and 3. Wheels.
Hope this post was informative and made you curious enough to attend the upcoming event in Burbank, CA @BandPro Film and Digital.