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As more and more productions go digital, workflows are becoming increasingly stable, making jittery produc- ers and directors a bit more relaxed about the process — but there are still too many formats to work with. The speed and flexibility that digital allows is cer tainly one of the reasons that digital shoots are becoming commonplace, but one large concern is how to archive all the data that comes with these productions. OBIN OLSON Partner DV3 Productions Wilmington, NC ( ( The Brothers Olson, Obin and Amariah Olson, are the founders of They have most recently been working with the new Red camera and some of the emerging DSLR formats for film, commercials and the Web. Their most recent project is Nevermore ( STRENGTHS: "The downfall of tape and the upswing to all media being based on solid state or drives — random access has really changed the workflow process. And really changed it from the low end to the high end in a lot of different ways. The biggest change is the idea that no matter what you are shooting on or what your project is, you can finish it on a plane if you need to, including making a master and FTP-ing that master off to a network or station or dub house with no hardware conversion. "Essentially getting the freedom that still photographers have had for years, in terms of getting rid of all the clutter and getting down to what it's all about, which is making content and all the creative stuff. And getting rid of all the middle men, in terms of equipment that has been there for years, has really freed the process for us." WEAKNESSES: "You have to star t thinking about archiving and what you are doing with your stuff when your done with it. It's scary. We have terabytes and terabytes of footage now. What are we going to do? "One thing we came up with that actually makes our lives easy now that everything is digital, is at the end of the day, the client has the option to buy a standard off-the-shelf 300GB or 400GB hard drive that they can treat it as a tape, but instead of it being a tape it's got all the assets, all the project files, file structures, every piece of creative that went into that project, so later on they can send it back to us and I can completely re-edit." OPPORTUNITIES: "There is a huge technical oppor tunity for somebody to come out with something that is similar to tape in its longevity and shelf life but is random access. There is nothing out there in the marketplace right now like that.There are some prom- ising technologies once they mature, but like all things hardware re- lated, it takes a long time to develop them. We are in a transition stage, where we are all digital, but still need a way to physically have it in our hands where it will last a 100 years and be random access and formatted like a hard drive where all your assets and files are on that piece of media." THREATS: "This is kind of a threat: I went out the other day with a Canon 5D and two gyros on the bottom of it and I shot stuff that looks 90 percent as good as having a full film crew with my Red camera and dolly and crane — which is a very expensive shooting day. It was a low-end project, so I wanted to keep it low end in terms of personnel and equipment on site, but at the same time my brother Amariah and I are working on an action movie concept and we wanted to see it if were possible to take a Canon 5D with still lenses and two gyros and basically be a human Steadicam with nothing else, just the two of us, because that is how we want to do this movie. And indeed it is possible, and it looks absolutely beautiful. There are huge crane and dolly moves; the tracking and pivot shots are just awesome. But I think it could be a little bit threatening to OUTLOOK By Randi Altman SHOOT! Store! Obin Olson shooting a trailer for the film Nevermore with his Red One camera. 18 Post • December 2009 SHOOTING DIGITAL

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