Issue link: https://digital.copcomm.com/i/1500728
Summer 2023 – LOCAL695.COM 49 the capability to be remotely software controlled so that the media was properly named and published on roll and cut. The Video Assist Operator was also responsible for troubleshooting and the overall reliability of the pipeline. Making sure that the sixteen live-action cameras, head rigs, and other departments had proper timecode, as well as tri- level sync and other reference outputs. All the workstations, about twenty in total, each had a monitor for live and playback images. The Video Assist Operator was also responsible for transmitting the images to the QTAKE workstations and to the Camera Department monitors for focus. In June 2016, I was employed once again on Avatar to head and coordinate the Video Department. The build-out of the pipeline was almost complete. I assisted both Ryan and Gary to help finish and get ready to film Avatar 2 and 3. At this point, I needed to assemble a group of Video Engineers who would be able to work on this project at various times. I scheduled personnel who were able to commit to the show and maintain their own client base. I knew a few operators but needed to find more. Within a few weeks, I was able to assemble twenty-five video operators that I could schedule at any given time. As the show progressed, the Director and Virtual Camera Operators would sometimes have a preference and would want to be paired with Video Assist Operators who were suited for them. The operators came from all different backgrounds, which included features, commercials, and live TV. Their technical ability varied as well. From basic QTAKE functions to a variety of problem-solving issues, The QTAKE team: Dan Moore, Vlado Struhar - President, IN2CORE, Martin Karsay - Hardware IN2CORE, Jeb Johenning - QTAKE Distributor, Andrew Borsuk - Software IN2CORE, Michael Tomlein - Software IN2CORE With hundreds of cables used to attach to reference cameras and other pieces of equipment, a color-coding system was established to visually see the length of the cable. This was an orderly way to pick out the proper length of black cable. Over the course of filming a feature film, this saves time and a substantial amount of money for production.