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Below is a brief explanation of the different
types of video related engineering production positions.
I am qualified in all areas listed below
and will provide exceptional customer service to you and your
clients. I strive to make the systems as redundant as possible and
work with vendors to assure you are getting the best deal possible with as
many accessories as can be reasonably expected.
If you need assistance in assembling a
video package for your shoot, please contact me and I will be happy to
assist you in preparing an equipment requisition for your review and
approval.
Thank you.
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Video Engineer
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| A true video engineer is a sophisticated and
capable person who understands the complete set up and operation of
complex single and multi-camera productions. What makes a video
engineer exceptional is their ability to quickly diagnose system or component
failures, and then offer the skills to return the equipment or component
back to full functionality.
This person has the ability to design and
assemble sophisticated production systems that include Switchers, Cameras,
VTRs, Graphics Systems, Ultimatte Systems, Routers, Down and Up
Converters, Computer Interfaces, and other video peripherals. They
take into account the production requirements and then complement them
with a set up of components that allows the producer and director to
specifically accomplish their production objectives.
A competent video engineer is capable of
putting together a complete technical requisition order for equipment that
suits the production demands and budget of the producer and director and do it with
minimal interaction, leaving the technical to the video engineer and
the creative to the producer. A sophisticated video engineer builds
in as much redundancy as possible in the event of system or component
failure.
A great Video Engineer has a working knowledge of
each component and is able to integrate it into the system. They will also have a strong
working knowledge of audio and intercom systems, although there may be limitations
because there are so many different
brands and models that it is difficult to keep up with all of the
variations.
A Video Engineer may or may not have the
ability to paint or "shade" a camera, as this is an exceptional
skill that requires a special eye. Often the video engineer must
remain available and flexible during production to have the ability to
address issues that may arise. |
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Video Controller (also
known as Video Shader) |
| Video Controllers or Video Shaders are
essentially people who have a fine eye capable of recognizing color and
image variations and the skill to adjust the cameras so they match and are
properly irised. There are very few people with exceptional
color skills, and if you add video engineering or Digital Image Technician
skills to their repertoire, then they become even rarer.
Few Video Shaders or Controllers have
systems understanding and have little if any diagnostic skills. If
you hire a video Shader, you may also have to hire a video engineer or DIT. |
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Video Shading Engineer
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| A Video Shading Engineer is a Video Engineer
with Color Shading skills. This is the most practical technician for
most productions and gives you the financial advantage of hiring one
person, and get the sophistication of two Job functions. \
I include in my skill set the title of
Video Shading Engineer. I have a very demanding eye and can paint
cameras as well as help design looks through detailed menu knowledge.
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Digital Image
Technician |
| This is a union defined position for HDTV technicians for cameras and includes people who have a basic
knowledge of specific brands of cameras and some support systems.
Most are former utility people and First Assistant Camera People who have
been trained to set up camera systems and provide simplistic diagnostic
skills.
Few have the ability to paint cameras and
their diagnostic skills may be limited. They have been trained in
how to set up cameras in a High Definition world. What they lack is
a systems understanding and how ancillary equipment will effect the
operation of the camera. These people are essentially a knowledgeable
additional set of hands for quick set up and break down. Most DITs
are limited in their skills and knowledge, so be careful that you select
the person who fits your specific application.
All of today's cameras are software
based, and the control of the camera is accessed through a menu structure
that varies from brand to brand and even model to model. Sony, as an
example, has one set of firmware for their HDC series of cameras, while
the Cine Alta line operate with a completely different firmware structure.
This means the settings from an HDC series can never be loaded onto a Cine
Alta camera and vice-a-versa. Even worse, the menu structures are
not the same, and external control devices like paint boxes and RCPs
(Remote Control Panels) that work on the HDC series have limited of no
access to control the functions on a Cine Alta series of camera.
Many Digital Image Technicians are brand
specific in that they are competent with only one or two specific
brands of cameras. Some camera systems such as The Viper
require a person who is truly qualified to operate them.
Some Digital Image Technicians are also
Video Shaders and these people are of great value. In addition to
being able to support the set up and operation of the camera, they have
strong knowledge of the menu structure of cameras and can match them with
minimal effort. |
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Engineer in Charge
(EIC)
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| This is an engineering supervisory position for complex productions requiring multiple levels of engineering
sophistication. The Engineer in Charge is the conduit between
Production and Engineering and provides the leadership to timely build and
operate the audio, video, lighting, power, and transmission systems.
He or she must have a complete understanding of the production goals and
the equipment specified.
The Engineer in Charge interfaces with all facilities and puts together
an effective plan for the installation and operation of the production
systems and components. The EIC coordinates the engineering labor so
they work succinctly and efficiently, staying within time constraints and
budget.
Often the Engineer in charge will assist in the selection of vendors,
equipment, and when required personnel. He or she will know which
vendors offer the best deal or have the availability of specialized
equipment.
The Engineer in charge must have strong knowledge of all aspects of
audio, lighting, video, power, and when applicable satellite, microwave or
fiber optic transmission. The person needs excellent people skills
and the ability to explain technical issues to the production staff that
may not be familiar with the vernacular. Excellent logistical skills
and the ability to prioritize, as well as knowing what are reasonable
times for completion of system set up.
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Technical Manager or
Technical Supervisor
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| This is a management position and oversees the Engineer in Charge, or
acts as both Technical Manager and EIC for shoots with large logistical
demands.
The Technical Manager has more interaction with the production
during the Pre-Production Process and will help make executive decisions
regarding the set up and operation of all engineering facilities. He
or she will interface with all vendors, as well as the location facilities
and utilities to make sure all communications and logistical issues are
addressed in advance of arrival.
They work closely with production in designing sophisticated production
systems and facilities within the budget parameters specified. He or
she is over all responsible for delivering te best production value for
the dollar and maintains contact with all vendors and coordinates
equipment deliveries and pick ups.
This position requires a very logistically sophisticated mind and is
only for those who understand the wide variety of equipment options
available. They must have excellent communication skills and be able
to quickly adapt to conditions and changes.
I can provide this technical leadership for the most sophisticated
engineering systems. I have strong vendor relations and can get the
most impact for the budget. |
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Selecting the right
person for your production |
| So how do you select a proper technician for
your shoot. If you are doing a multi camera shoot in which the
cameras must be color matched you are best off with a Video Painting
Engineer. This person is both a video engineer and video Shader/controller.
They have extreme sophistication and should be able to address any issue
that may arise and provide perfectly matched cameras with minimal effort. |
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