TV DNA celebrated their 10th anniversary at dvDepot last night. The TV Diva Networking Alliance is a group connecting women working in the TV industry. They meet periodically to share knowledge and resources. Membership is exclusive, limited only to women actively working in television, and based on recommendations of current members. The members include producers, network executives, production managers, line producers, among other positions. One of our owners, Deborah Wolpert is fortunate enough to be a member and hosted the anniversary party.

At last night’s meeting, dvDepot also set up a demo of our HD cameras for the Divas. We went through the advantages and disadvantages of several HD cameras including the Sony EX1, Z5U, and A1U, also the Varicam and HVX200 from Panasonic. Comparing cost to picture quality to post workflow, each camera is appropriate for various situations. The demo was a success and then the men of dvDepot scurried out to leave the Divas to their celebration.

You can read more about the TV Diva Networking Alliance at http://www.tvdna.net and see more picture from the event on our Facebook page.

With EX1, HVX200, and other cameras that shoot to memory cards becoming more popular every day, the work flow on sets is changing. Log and capture used to be an important phase of post-production, but now, data transfer is a part of production. We’ve had our share of trial and error here at dvDepot trying to figure out how the future is going to look.

1. What to call them?

Nobody seems to have any idea of what to call this position. Data wrangler comes up a bunch. More common is “a guy to, like, do transfers and stuff.” Some people just call them camera utilities or assistant cameras. We eventually settled on memory card transfer technician, so that the duties are specific. We’ll shorten this to “card tech” or “transfer tech” most of the time.

2. Can a camera utility or AC do this?

A lot of utilities will know how to do this. But a lot don’t. We sent one of our best utilities on a job to do P2 transfers and he ended up taking twice as along as expected. Any time there was a problem with the camera, he jumped in to help fix it. This is what he’s good at, so it makes sense. This shoot also only ordered two 16GB cards per camera for several multicam interviews in a pretty short time. He had to be constantly dumping and wiping cards to keep up with shooting. We didn’t have time for him to do anything else.

3. Can I send an editor or assistant editor?

It’s tempting to send post people out. They have experience doing file transfers. They know the different formats post requires. We had an editor out once who really knew the transfers down pat and how to format the drives. However, when the camera decided not to recognize the memory card, he had no idea what to do. We sent one of our in-house technicians to solve the problem pretty quickly, but somebody without any knowledge of using the camera on set is missing an important piece of the puzzle.

4. How do you keep the cards organized?

We worked on one shoot when they were making fast transfers. The transfer tech noticed that he was missing the last batch of footage from camera B. None of the cards were labeled. We had to go through each card again and figure out which one had the missing footage. Most camera operators know to label their tapes, but some overlook labeling their memory cards. Labeling your cards is more important than labeling your tapes because cards will be wiped and then the footage is lost forever.

Most people don’t realize it, but P2 cards have an area on the back that is designed for using dry erase markers. You can easily label the cards with A2 or something similar. SxS cards unfortunately don’t have this same convenience. For now, we use paper tape because gaff tape is too thick and can get stuck in the camera. The important thing is training our transfer techs in making sure that all cards are labeled and that they never accept a card from a camera without it being properly labeled.

5. So who do you send?

We decided that we needed people who are specifically suited to being card transfer techs. They need experience working on set, often as an AC or camera utility. The techs are often called upon to assist in the camera department and they need to be prepared. Additionally, the best candidates are often trained editors. They understand the problems that can arise with file transfers and can deal with them. A lot of our techs are working toward becoming full time editors. Using this as our starting criteria, we have recruited a pool of freelancers who are specifically assigned as transfer card technicians.

By finding the right people to handle the job and making sure the process they use is correct, we’ve turned memory card transfers into a smooth process. We are curious to find out how other people are dealing with this situation. Let us know what you’re doing in the comments below.

If you’re shooting with a camera that uses memory cards, we highly recommend assigning a qualified crew member to this position. If you’re like to hire somebody from dvDepot, please contact our crewing department, by emailing crewing@dvdepot.com or by calling 212.333.5100.

Shooting underwater takes not only an experienced shooter, but the right kind of equipment. From the normally hidden world of the ocean to the underwater antics of a pool party– underwater footage is a desirable addition to many projects.

Here at dvDepot we have two great models of underwater housing that can be used with a variety of cameras, such as the Sony V1U, Z1U, Pansonic DVX100, Sony DCR-VX2000 and DSR-PD150. In addition to this we also have some audio gear that is suitable for water based shoots -the Lectrosonic MM400C transmitter and M152 mic.

The Sony V1U is best paired with the Equinox HD8 Underwater Housing which can be seen below. The Equinox can be brought to depths of up to 75 meters (250ft). It also has BRS ( Ballast Release System) for easy travel. This is also useful if trouble occurs on a dive–just pull the release pin and the Equinox will shoot straight to the surface.

Ewa-Marine V2000 Underwater Housing can be used with a wider variety of cameras such as the Sony PD150, Sony Z1U, Panasonic DVX100, Sony DCR-VX2000, and Panasonic HVX200. This housing enables the user to film up to 10meters (33 ft) below water. It features a double laminated PVC Construction and an Optical Glass port. The bag shape makes it easier to carry. Also included are weight straps, which makes it easier to achieve buoyancy. It is also ideal for filming while snorkeling, shallow diving or moving in and out of the water. This type of underwater housing has been used to good effect for the show “Made” which airs on MTV Saturdays at 3pm.

The Lectrosonics MM400C Lavalier transmitter is ideal for use in heavy rain,humidity and/or water based shoots and can be submerged in the water if necessary. Also featured is a waterproof On/Off/Mute reed switch and non-detachable antenna. The switch is removable to avoid accidental switching caused by the talent. A machined finish provides a non-corrosive housing, preventing rust and oxidation. The use of the MM400C results in greater range with minimal noise.

The Lectrosonics M152 is a highly sensitive omnidirectional microphone that can be used with the MM400C. It also features a watertight mini connection that makes it ideal for a shoot that’s water bound!

If you have a shoot coming up that requires water-friendly equipment, feel free to contact us and we can put together a package that suits your production and budgetary requirements. We look forward to working with you!

Jay-Z’s new album, The Blueprint 3 drops on September 11th. As part of the publicity blitz, Jay agreed to be interviewed by other celebrities on BET. Jon Marc Sandifer, a producer we work with on “Rising Icons,” wanted to get the crew from dv Depot.

We sent five camera operators, two audio ops and our ace utility Derek Edwards. Our DP, Alex Sierra, set up two cameras to cover the interviews in close up. He shot the close ups of Jay-Z while Christine Ka’aloa covered the interviewers. Jeremy Leach worked on steadicam, getting two shots and tracking shots. Meanwhile, Daniel McKeown was put on a roving camera, getting a wide range of shots to make for a more exciting edit. Ethan Goldberger handled the audio. Another crew rode in the cab with the interviewers as they headed out to meet Jay-Z. Chris Piazza and Gabriel Cyr were on this crew.

The interviews were great to watch. All of the celebrities were friends with Jay-Z and this worked to create a casual, intimate atmosphere. They were able to ask real questions that required real answers.

The first interviewer was Angie Martinez of Hot 97, the highest rated DJ in New York. She and Jay discussed fame, among other things. She found that Jay had a remarkable ability to live his life naturally in front of dozens of cameras (including ours).

Stephen A. Smith interviewed next. He’s most famous for his show “Quite Frankly” on ESPN. He talked at length with Jay about his part ownership of the New Jersey Nets and his long friendship with LeBron James. They also discussed personal branding and imaging, something that both have mastered.

Hip hop journalist Harry Allen presented Jay with the hardest questions of the day, asking questions about music and black culture and Jay’s place in it. The two Brooklyn natives also had a chance to discuss their love of the borough in the shadow of the Brooklyn Bridge.

It was a challenging day. We shot on Panasonic HVX200 cameras and the utility Derek was kept busy dumping the cards and wiping them, trying to keep ahead of the cameras needs. P2 memory cards on a multicam shoot can be challenging, but the reward is that you can start editing the next day, with all your footage already

digitized.

We’re always excited to work with BET. Jay-Z and the interviewers were also nice people and easy to work with. At the end of the day, everybody went home exhausted, but proud of the work we did. As he was leaving, Jay complimented Jon Marc on how well everything went. Nothing could have pleased us more.

You can see all of the pictures from the day at our flickr site.

Watch for the special to air on BET on Monday, September 7th.