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Dailies



Hi folks,
     There's been a bit of talk lately on dailies, so I guess this is 
a good time to jump in with an observation.  I've noticed more and 
more clients editing from dailies, then coming in to transfer 
selected takes.
     For commercial work, which is about 90 percent of what I do, 
this seems to be an odd way to work unless there is a great deal of 
footage.  For episodic television, however, I think it's great.  
Color values of the sets are known and repeatable.
     But time and again in commercial work, I find the clients 
stunned by the quality of images of the shots they rejected in the 
edit.  "If I'd known that shot would look so good I'd have used it", 
I get a lot.  I've even had clients go back and change their off 
lines.  Yet the next job, it's back to editing dailies.  Fact is, the 
labs do a darn good job at an irresistable price.  And on the other 
side of the coin, I've had clients who took lots of session time to 
make the transfers look just like the dailies (which of course were 
only on 3/4" tape!).
     Either way, it seems to me these clients are not being well 
served by the process.  In most cases, because of the extra work 
engendered by improving scenes not in the origional off line or 
painstaking match to the dailies, sessions take up enough time to 
have transferred all footage fully supervised and corrected to the 
client's content.
     Does this happen anywhere else, or is this fairly unique?  I 
notice that on the West Coast there is a lot of videotape correction, 
but by and large that hasn't caught on in this market.  I can see 
videotape correction's advantages, especially with digital, but I'm 
wondering if most of our clients might be working in a less than 
ideal manner.  I've tried to explain this to them, but as the dailies 
are so cheap and they love seeing them so quickly after the shoot it 
seems like a lost cause.  
     Any thoughts on the issue?

Robert Lovejoy