[et_pb_section fb_built=”1″ _builder_version=”4.9.3″ _module_preset=”default” custom_padding=”2px||42px|||” locked=”off” global_colors_info=”{}”][et_pb_row column_structure=”1_4,3_4″ custom_padding_last_edited=”on|phone” _builder_version=”4.9.3″ _module_preset=”7b1bf5ad-cc2a-4448-981c-4963d88bd6e8″ custom_padding=”0px|143px||141px|false|false” custom_padding_tablet=”0px|0px||0px|false|true” custom_padding_phone=”25px|0px||0px|false|false” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/massive.io\/wp-content\/uploads\/2021\/07\/Keith-Putnam-DIT-Headshot-1.png” title_text=”Keith-Putnam-DIT-Headshot” align=”center” align_tablet=”center” align_phone=”” align_last_edited=”on|tablet” _builder_version=”4.9.3″ _module_preset=”default” custom_margin=”56px||-45px||false|false” custom_margin_tablet=”” custom_margin_phone=”30px||-45px||false|false” custom_margin_last_edited=”on|phone” custom_padding=”0px|||0px|false|false” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text disabled_on=”off|off|off” _builder_version=”4.9.3″ _module_preset=”default” text_font_size=”18px” text_line_height=”2.2em” custom_margin=”48px||||false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” text_line_height_tablet=”” text_line_height_phone=”” text_line_height_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n
<\/blockquote>\nKeith Putnam<\/span><\/a> is a video production professional who has spent the past several years as a Digital Imaging Technician (DIT)<\/strong> and second unit Director of Photography and on the CBS series <\/span>Bull<\/span><\/i> and <\/span>Madam Secretary<\/span><\/i>.\u00a0 He\u2019s also worked on productions such as <\/span>Teenage Mutant Ninja Turtles<\/span><\/i> (2014), the <\/span>Foo Fighters: Sonic Highways<\/span><\/i> documentary (2014), and <\/span>The Wolf of Wall Street<\/span><\/i> (2013).<\/span><\/p>\n
<\/blockquote>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” _builder_version=”4.9.3″ _module_preset=”7b1bf5ad-cc2a-4448-981c-4963d88bd6e8″ custom_padding=”0px|143px||141px|false|false” custom_padding_tablet=”0px|0px||0px|false|true” custom_padding_phone=”25px|0px||0px|false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ width=”100%” custom_margin=”|-54px||||” custom_padding=”0px||1px|0px||” global_colors_info=”{}”]<\/p>\n
As a DIT\u2014sometimes associated with a \u201c<\/span>data wrangler<\/span><\/a>\u201d\u2014Putnam acts as a virtual bridge between camera and post-production crews by ensuring and maintaining the integrity of digital film workflows. And when it comes to video production, digital workflows are everything: specific tasks include video routing, image management, live color grading and on-set dailies generation.\u00a0<\/span><\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” _builder_version=”4.9.3″ _module_preset=”7b1bf5ad-cc2a-4448-981c-4963d88bd6e8″ custom_padding=”0px|143px||141px|false|false” custom_padding_tablet=”0px|0px||0px|false|true” custom_padding_phone=”25px|0px||0px|false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.9.3″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ width=”100%” custom_margin=”|-54px||||” custom_padding=”0px|||0px||” global_colors_info=”{}”]<\/p>\n
Almost everyone involved in a large video production has worked with a DIT at one point or another. But not everyone is familiar with the unique and complex set of technical, creative, and gear requirements of these unsung on-set heroes.<\/span><\/p>\n
MASV sat down for a Q&A with Keith to talk about what goes into one of the most vital\u2014yet relatively unknown\u2014on-set functions there is.<\/span><\/p>\n
<\/ul>\n
[\/et_pb_text][et_pb_text _builder_version=”4.9.3″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ width=”100%” custom_margin=”|-54px||||” custom_padding=”0px|||0px||” global_colors_info=”{}”]<\/p>\n
Jump to section:<\/strong><\/p>\n
\n
- What is a Digital Imaging Technician (DIT)?<\/a><\/li>\n
- How did the role of a DIT come to be?<\/a><\/li>\n
- Who DITs liaise with most often?<\/a><\/li>\n
- How does a DIT fit into the overall production workflow?<\/a><\/li>\n
- How does one become a DIT?<\/a><\/li>\n
- What are some aspects of the job you wish you knew when starting out?<\/a><\/li>\n
- Can you describe a \u2018normal\u2019 DIT workflow?<\/a><\/li>\n
- What tools are required for the job?<\/a><\/li>\n
- How do you see the role evolving?<\/a><\/li>\n
- How have you improved your practice over the years?<\/a><\/li>\n<\/ul>\n
[\/et_pb_text][et_pb_cta title=”Send Large Video Files” button_url=”https:\/\/app.massive.io\/en\/signup” button_text=”Send a File” module_class=”starttrial” _builder_version=”4.14.7″ _module_preset=”default” header_level=”h5″ header_font=”||||||||” header_font_size=”27px” header_line_height=”1.3em” background_color=”#202332″ background_color_gradient_start=”#3d72e7″ background_color_gradient_end=”#202332″ background_color_gradient_direction=”206deg” custom_button=”on” button_text_color=”#FFFFFF” button_bg_use_color_gradient=”on” button_bg_color_gradient_start=”#3d72e7″ button_bg_color_gradient_end=”#53a0fe” button_bg_color_gradient_direction=”293deg” button_border_width=”0px” button_border_radius=”50px” button_use_icon=”off” button_custom_padding=”10px|42px|10px|42px|true|true” custom_margin=”||20px||false|false” link_option_url=”https:\/\/app.massive.io\/en\/signup” border_width_top=”10px” border_color_top=”#3d72e7″ border_color_left=”#3d72e7″ box_shadow_style=”preset2″ box_shadow_horizontal=”-13px” box_shadow_style_button=”preset1″ locked=”off” global_colors_info=”{}” button_border_width__hover_enabled=”on|hover” button_custom_padding__hover_enabled=”on|hover” button_custom_padding__hover=”|2em|||false|false” button_border_width__hover=”0px”]<\/p>\n
Send and receive file packages of unlimited size over the cloud with MASV file transfer.<\/p>\n
[\/et_pb_cta][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” module_id=”what-is-a-digital-imaging-technician” _builder_version=”4.9.3″ _module_preset=”default” custom_padding=”0px|143px|7px|141px|false|false” custom_padding_tablet=”|0px||0px|false|true” custom_padding_phone=”30px|0px||0px|false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/massive.io\/wp-content\/uploads\/2021\/07\/Digital-Imaging-Technician-DIT-Footage.jpg” alt=”A digital imaging technician and a director of photography review footage on a small screen” title_text=”Digital-Imaging-Technician-DIT-Footage” _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ width=”100%” custom_margin=”|-54px||||” custom_margin_tablet=”|-54px|0px||false|false” custom_margin_phone=”-20px||||false|false” custom_margin_last_edited=”on|tablet” custom_padding=”0px||0px|0px|false|false” custom_padding_tablet=”||0px||false|false” custom_padding_phone=”0px||||false|false” custom_padding_last_edited=”on|tablet” global_colors_info=”{}”]<\/p>\n
Photo by Gordon Cowie<\/a> on Unsplash\u00a0<\/em><\/p>\n
<\/ul>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” _builder_version=”4.9.3″ _module_preset=”7b1bf5ad-cc2a-4448-981c-4963d88bd6e8″ custom_padding=”0px|143px||141px|false|false” custom_padding_tablet=”0px|0px||0px|false|true” custom_padding_phone=”25px|0px||0px|false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
What is a Digital Imaging Technician (DIT)?<\/strong><\/h2>\n
[\/et_pb_text][et_pb_text _builder_version=”4.9.3″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ width=”100%” custom_margin=”|-54px||||” custom_padding=”0px|||0px|false|false” global_colors_info=”{}”]<\/p>\n
I usually describe the Digital Imaging Technician as the guardian of the director of photography (DP)\u2019s creative vision. The DIT’s job is to be a bridge from production to post-production and sometimes beyond, to exhibition (whatever that may mean in context). A DIT uses a variety of gear and technical and creative skills to make sure that what the DP wants the image to look like is translated and preserved accurately, from the moment the frame is captured to the moment it’s displayed to an audience.<\/span><\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” module_id=”how-did-the-role-come-to-be” _builder_version=”4.9.3″ _module_preset=”default” custom_padding=”0px|143px||141px|false|false” custom_padding_tablet=”|0px||0px|false|true” custom_padding_phone=”30px|0px||0px|false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ custom_margin_tablet=”||12px||false|false” custom_margin_phone=”” custom_margin_last_edited=”on|tablet” custom_padding_tablet=”||0px||false|false” custom_padding_phone=”” custom_padding_last_edited=”on|tablet” global_colors_info=”{}”]<\/p>\n
How did the role of a DIT come to be?<\/b><\/h2>\n
[\/et_pb_text][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ width=”100%” custom_margin=”|-54px||||” custom_padding=”0px|||0px|false|false” global_colors_info=”{}”]<\/p>\n
The position evolved back in the late 90s and early 2000s, alongside the development of 24-frame digital cinema cameras as they splintered off from broadcast video cameras. In the beginning, productions shooting digitally hired video engineers to tune cameras, manage the signal, and color grade the image in real time as it was recorded to videotape. They had to get close to nailing it! This was before both <\/span>file-based capture<\/span> (which allows for immediate content ingest and near-real time editing) and log gamma-encoding (a form of color encoding that can provide richer images) existed. So the luxury of non-destructive, metadata-based <\/span>color grading<\/span> was only a dream.<\/span><\/p>\n
Note:<\/strong> destructive editing or color grading alters the original image, while non-destructive keeps the original intact.<\/span><\/span><\/p>\n
[\/et_pb_text][et_pb_image src=”https:\/\/massive.io\/wp-content\/uploads\/2021\/07\/Digital-Imaging-Technician-DIT-ARRI-Alexa.jpg” alt=”Close up of an ARRI Alexa camera” title_text=”Digital-Imaging-Technician-DIT-ARRI-Alexa” _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ width=”100%” custom_margin=”|-54px||||” custom_margin_tablet=”|-54px|2px||false|false” custom_margin_phone=”-20px||||false|false” custom_margin_last_edited=”on|tablet” custom_padding=”0px||0px|0px|false|false” global_colors_info=”{}”]<\/p>\n
Photo by\u00a0CineDirektor FILMS<\/a>\u00a0from\u00a0Pexels<\/em><\/p>\n
<\/ul>\n
[\/et_pb_text][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
But the shift to file-based recording of raw data and log-encoded RGB files came along in a rush in the mid-’00s, breaking through in a huge way with cameras like the <\/span>RED One<\/span> and <\/span>ARRI Alexa<\/span>. Technicians managing digital cameras in the era of the Samsung D20\/D21, the <\/span>Thomson Viper<\/span><\/a> and the <\/span>Panavision Genesis<\/span><\/a> began using the Digital Imaging Technician title to distinguish themselves from video engineers. That was partly because of the differences in content the two types of techs worked on:<\/span><\/p>\n
\n
- Video engineers work more in broadcast and live video (30 fps) world.<\/span><\/li>\n
- DITs in 24 fps content such as film and television.<\/span><\/li>\n<\/ul>\n
It was also because of the new paradigms of file-based media management and non-destructive metadata-based color grading.<\/span><\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” module_id=”who-DITs-liase-with-most-often” _builder_version=”4.9.3″ _module_preset=”default” custom_padding=”0px|143px||141px|false|false” custom_padding_tablet=”|0px||0px|false|true” custom_padding_phone=”30px|0px||0px|false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ custom_margin_tablet=”||12px||false|false” custom_margin_phone=”” custom_margin_last_edited=”on|tablet” custom_padding_tablet=”||0px||false|false” custom_padding_phone=”” custom_padding_last_edited=”on|tablet” global_colors_info=”{}”]<\/p>\n
Who DITs liaise with most often?<\/strong><\/h2>\n
[\/et_pb_text][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ width=”100%” custom_margin=”|-54px||||” custom_padding=”0px|||0px|false|false” global_colors_info=”{}”]<\/p>\n
There are very few departments on a production we don’t interact with, since we’re sort of a “mission control” that everything flows through\u2014plus we typically have the best-looking (or at least most accurate) image on-set.<\/span><\/span><\/p>\n
Camera & Lighting<\/strong><\/span><\/h3>\n
While it’s probably obvious that the DIT spends a lot of time talking to the DP, we also are critical collaborators with the <\/span>gaffer<\/span> (or chief lighting technician) and <\/span>key grip<\/span> (the leader of the production\u2019s grip department. Grips are technicians that create and maintain all camera-supporting mounts and equipment, including dollies, cranes, or ladders). When lighting is being focused and shaped, the place to be is at the <\/span>DIT cart<\/span>. DIT carts are sophisticated rigs kitted out with high-tech equipment such as laptops, SDI routers, waveform monitors, and multiviewers. DITs constantly talk to camera assistants throughout the day, and frequently the camera operators as well.<\/span><\/p>\n
Hair & Makeup<\/strong><\/span><\/span><\/h3>\n
The hair and makeup team and wardrobe crew often come to the DIT cart to take a color and <\/span>contrast-accurate look at the actors.<\/span><\/p>\n
Art Department<\/strong><\/span><\/h3>\n
The art department (responsible for props, set decorations, and scenics) does the same around their areas of interest.<\/span><\/p>\n
Production<\/strong><\/span><\/h3>\n
We frequently serve the needs of producers and directors in terms of providing deliverables and referencing previously shot material\u2014though if the production has a <\/span>VTR operator<\/span>, some of that becomes their responsibility.<\/span><\/p>\n
Post-Production<\/strong><\/span><\/h3>\n
On the post-production side, we’re in frequent contact with the post-producer or post supervisor, along with key contact people at the lab (if there is one) such as dailies operators and colorists. Sometimes we are privileged enough to be intimately involved with the final coloring session or sessions for the project. <\/span><\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” module_id=”how-does-a-DIT-fit-into-overall-production-workflow” _builder_version=”4.9.3″ _module_preset=”default” custom_padding=”0px|143px|0px|141px|false|false” custom_padding_tablet=”|0px||0px|false|true” custom_padding_phone=”30px|0px||0px|false|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
How does a DIT fit into the overall production workflow?<\/strong><\/h2>\n
[\/et_pb_text][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ width=”100%” custom_margin=”|-54px||||” custom_padding=”0px|||0px|false|false” global_colors_info=”{}”]<\/p>\n
1. Pre-production<\/strong><\/span><\/h3>\n
The Digital Imaging Technician has two main areas of influence in pre-production. The first is working with the DP to establish the intended look for the project, which can mean building or choosing the master <\/span>LUT<\/span><\/a> (or \u201cLook-Up Table\u201d), a tool that receives a log signal and applies corrections from color grading software before outputting the signal for viewing. We also consult on the choice of camera body, lenses, and filtration\u2014essentially a sounding board and resource for anything related to what’s seen on-screen.\u00a0<\/span><\/b><\/span><\/p>\n
Second, the DIT is the point person for establishing and maintaining workflows regarding the video signal and the management of camera-original media. In that role we’re talking with producers, post-production staff, the studio or network, the rest of the camera department, and VTR operator (when there is one). Expect lots of meetings with all these people. Sometimes we\u2019re effectively a radio frequency spectrum consultant, since so much of what happens on-set involves wireless transmission and reception, and a huge chunk of that interfaces with our role.<\/span><\/p>\n
[\/et_pb_text][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ width=”100%” custom_margin=”|-54px||||” custom_padding=”0px|||0px|false|false” global_colors_info=”{}”]<\/p>\n
2. Principal Photography<\/strong><\/span><\/h3>\n
When shooting, the DIT must ensure the image is correctly exposed in the context of the final intended look. We receive a log-encoded signal from the camera, measure it on a waveform monitor, and then apply our color work to it in real time, usually making <\/span>Color Decision List<\/span> (CDL) corrections to the image and then applying the master LUT, all non-destructively. We save the CDLs in a way that enables dailies operators to easily and efficiently find the correct look to apply to the media when producing dailies and editorial media. The DIT also distributes the live-graded signal to monitors all over the set, either directly or through the VTR operator, so everyone can see what’s being shot in as close to a finished format as we can achieve on-set.<\/span><\/p>\n
[\/et_pb_text][et_pb_image src=”https:\/\/massive.io\/wp-content\/uploads\/2021\/07\/Digital-Imaging-Technician-DIT-Leader-waveform-monitor-lv5350.jpg” alt=”Close up of an ARRI Alexa camera” title_text=”Digital-Imaging-Technician-DIT-Leader-waveform-monitor-lv5350″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.9.3″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ width=”100%” custom_margin=”|-54px||||” custom_margin_tablet=”|-54px|-1px||false|false” custom_margin_phone=”-20px||||false|false” custom_margin_last_edited=”on|tablet” custom_padding=”0px||0px|0px|false|false” global_colors_info=”{}”]<\/p>\n
LV5350 waveform monitor<\/a> by Leader<\/em><\/p>\n
<\/ul>\n
[\/et_pb_text][et_pb_text _builder_version=”4.9.3″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
<\/span>We’re often responsible for setting and\/or <\/span>pulling the iris<\/span><\/a> on the lens, so we usually have single-channel wireless iris control units on our cart, too. On some productions the DIT is effectively the lab, as well, so they may also generate the dailies and editorial media at the same time as everything listed above.<\/span><\/p>\n
This is most common on commercials, reasonably common in features, and less common in episodic, but it really depends on the needs of the production.<\/span><\/p>\n
[\/et_pb_text][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ width=”100%” custom_margin=”|-54px||||” custom_padding=”0px|||0px|false|false” global_colors_info=”{}”]<\/p>\n
3. Post-production<\/strong><\/span><\/h3>\n
During post-production, the DIT often helps the colorist and DP interact with each other when the DP can’t directly attend color grading sessions. The DIT may also be asked to call up references from the shoot, help troubleshoot issues which weren’t apparent during the shoot, or even just answer questions about where various assets can be found.<\/span><\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” module_id=”how-does-one-become-DIT” _builder_version=”4.9.3″ _module_preset=”default” custom_padding=”40px|143px|0px|141px|false|false” custom_padding_tablet=”|0px||0px|false|true” custom_padding_phone=”30px|0px||0px|false|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
How does one become a DIT?<\/b><\/h2>\n
[\/et_pb_text][et_pb_text _builder_version=”4.9.3″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
There are a lot of paths toward a career as a digital imaging technician. At a bare minimum you’re going to need pick up a pretty deep knowledge of filmmaking principles and technology. It’s helpful to know a lot about both cinematography and post-production since the DIT sits squarely in the middle of those two worlds. Good computer skills are a must, as is at least basic video engineering knowledge. <\/span>
<\/span>
<\/span>Ultimately, though, this industry is entirely about relationships of trust. So the true, if unhelpful, answer as to how to get hired as a DIT is: get someone to trust you and hire you as a DIT. A more helpful answer is: seek out and build relationships with people working in the business. Find your people. It all flows from that.<\/span><\/p>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” module_id=”what-are-some-aspects-of-the-job-you-wish-you-knew” _builder_version=”4.9.3″ _module_preset=”default” custom_padding=”40px|143px|0px|141px|false|false” custom_padding_tablet=”|0px||0px|false|true” custom_padding_phone=”30px|0px||0px|false|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
What are some aspects of the job you wish you knew when starting out?<\/strong><\/h2>\n
[\/et_pb_text][et_pb_text _builder_version=”4.9.3″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
One of the main things I wasn’t aware of when I started that became important was how to assess the relative power of the DP on a given production. Any influence you have as the DIT comes directly from the DP\u2019s amount of power or control, and that can vary wildly. Especially in episodic TV, the ultimate say over almost everything lands with producers who aren’t anywhere near the set\u2014so it\u2019s easy to get caught between serving your DP and serving your DP’s bosses.<\/span><\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” module_id=”normal-DIT-workflow” _builder_version=”4.9.3″ _module_preset=”default” custom_margin=”||-17px||false|false” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”40px|143px|0px|141px|false|false” custom_padding_tablet=”|0px||0px|false|true” custom_padding_phone=”30px|0px||0px|false|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
Can you describe a \u2018normal\u2019 DIT workflow?<\/b><\/h2>\n
[\/et_pb_text][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ custom_padding=”||0px||false|false” global_colors_info=”{}”]<\/p>\n
A standard DIT workflow involves the following:<\/p>\n
\n
- Receive a log-gamma image<\/a> from the camera<\/li>\n
- Assess the signal from an engineering standpoint<\/li>\n
- Apply creative and technical color correction to the image<\/li>\n
- Display the image for yourself and others<\/li>\n
- Provide metadata deliverables to whoever is processing the footage for dailies and editorial (which could be yourself)<\/li>\n
- If the DIT also manages media, the workflow involves:\n
\n
\n
- Gathering the exposed magazines<\/a> from cameras<\/li>\n
- Ingesting the footage<\/li>\n
- Generating a checksum to make sure you’ve copied every last bit<\/li>\n
- Making multiple backups of the media<\/li>\n
- Quality controlling media as much as possible with the time you have available<\/li>\n
- Making sure the media is passed along to post-production<\/li>\n<\/ol>\n<\/ul>\n<\/li>\n<\/ul>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” module_id=”what-tools-are-required” _builder_version=”4.9.3″ _module_preset=”default” custom_padding=”40px|143px|0px|141px|false|false” custom_padding_tablet=”|0px||0px|false|true” custom_padding_phone=”30px|0px||0px|false|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
What tools are required for the job?<\/b><\/h2>\n
[\/et_pb_text][et_pb_text _builder_version=”4.9.3″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
One thing a DIT cannot live without is a set of professional-grade production monitors capable of extremely high color and contrast accuracy, and which are calibratable so they can be kept in that state of accuracy over a long time. You and your DP must be able to trust that what you see on your DIT monitors is as close to exactly what will be seen anywhere else with correctly calibrated displays. <\/span><\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” _builder_version=”4.9.3″ _module_preset=”default” custom_padding=”40px|143px|0px|141px|false|false” custom_padding_tablet=”|0px||0px|false|true” custom_padding_phone=”30px|0px||0px|false|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_video src=”https:\/\/www.youtube.com\/watch?v=z_qgUpg4Uxs” _builder_version=”4.9.3″ _module_preset=”default” locked=”off” global_colors_info=”{}”][\/et_pb_video][et_pb_text _builder_version=”4.9.3″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
For the color grading portion of the job, you\u2019ll need grading software capable of making CDL changes in real time, and the LUT boxes I mentioned earlier. That also implies the necessity of a computer to run the software and interface with the LUT boxes. If all you’re using the computer for is live grading, you can get away with a relatively low-powered machine, but if you’re also media managing\u2014and even more so if you’re processing dailies yourself\u2014then you’ll want more horsepower and storage. <\/span>
<\/span>
<\/span>You’ll need a waveform monitor to assess the various video signals you’re dealing with. You’ll almost always need a video router, because you’re accepting lots of video signals, and sending them to lots of different places. And, of course, you’ll need a robust cart for all of these things to live on and to transport them around.<\/span><\/p>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” module_id=”how-do-you-see-the-role-evolving” _builder_version=”4.9.3″ _module_preset=”default” custom_padding=”40px|143px|0px|141px|false|false” custom_padding_tablet=”|0px||0px|false|true” custom_padding_phone=”30px|0px||0px|false|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
How do you see the role evolving as film and TV production becomes more remote and cloud-based?<\/b><\/h2>\n
[\/et_pb_text][et_pb_text _builder_version=”4.9.3″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
At its core, the basic functions of the role haven’t really changed\u2014regardless of the tools involved, your job is to ensure the DP’s vision is protected. But in a remote or cloud workflow certain responsibilities are tacked on. Now you may have to be even more of a network engineer than previously, and a lot of your time will likely involve troubleshooting why various people around the world are having trouble seeing what they want to see. You’re still the conduit from set to the wider world. Now there’s just more internet involved, really.<\/span><\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” module_id=”how-have-you-improved-your-practice” _builder_version=”4.9.3″ _module_preset=”default” custom_padding=”40px|143px|0px|141px|false|false” custom_padding_tablet=”|0px||0px|false|true” custom_padding_phone=”30px|0px||0px|false|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
How have you improved your practice over the years?<\/b><\/h2>\n
[\/et_pb_text][et_pb_text _builder_version=”4.9.3″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
I think I’ve improved at my job in many ways over the years. Efficiency, obviously, increases with experience. I’d say my creative skills have improved tremendously\u2014my senses of color and lighting, in particular. I’ve learned a lot about communicating effectively with a wide variety of people under stressful circumstances. <\/span>
<\/span>
<\/span>Perhaps most importantly, I’ve learned how to delegate some responsibility and how to say no to some things. We’re all too willing to exploit ourselves and be exploited by an industry which is often much more physically, emotionally and psychologically demanding than is necessary, so learning to speak up for your needs becomes more and more important as you age.<\/span><\/p>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” _builder_version=”4.9.3″ _module_preset=”default” custom_padding=”40px|143px|0px|141px|false|false” custom_padding_tablet=”|0px||0px|false|true” custom_padding_phone=”30px|0px||0px|false|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_divider _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|phone” _builder_version=”4.9.3″ _module_preset=”default” custom_padding=”10px|143px|0px|141px|false|false” custom_padding_tablet=”|0px||0px|false|true” custom_padding_phone=”30px|0px||0px|false|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ width=”100%” custom_margin=”|-54px||||” custom_padding=”0px|||0px|false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n
Conclusion<\/strong><\/span><\/h2>\n
We\u2019d like to thank Keith for taking the time out of his schedule to help write this piece. You can check out some of Keith\u2019s work on his website at <\/span>High Water Media<\/span><\/a> or on his <\/span>Instagram<\/span><\/a>.<\/span><\/p>\n
A digital imaging technician interacts with large digital media files on a daily basis. It\u2019s imperative that these files not only look as intended but are backed up and archived correctly for easy access by other members of the production team. This requires a file transfer service capable of moving heavy, uncompressed videos in short order.<\/span><\/p>\n
It\u2019s the exact solution Shadow Magic Studios was searching for until they found <\/span>MASV<\/span><\/a>. Read our customer story with Shadow Magic CEO, Jordan Maltby on his experience using MASV transfer and MASV Portals to move footage from an on-set DIT station to a remote post facility.<\/span><\/p>\n
[\/et_pb_text][et_pb_text _builder_version=”4.9.3″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
\n“We test drove a bunch of different file transfer platforms, and MASV was the only one that always worked without fail”<\/span><\/p>\n<\/blockquote>\n
[\/et_pb_text][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ global_colors_info=”{}”]<\/p>\n
<\/blockquote>\nMASV is the fastest way to <\/span>send<\/span><\/a> and <\/span>receive<\/span><\/a> massive video files. Send uncompressed dailies, locked pictures, DCPs, and more with MASV. <\/span>Sign up today<\/span><\/a> and receive free credits towards your next transfer.<\/span><\/p>\n
<\/blockquote>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.9.3″ custom_padding=”0px||||false|false” global_colors_info=”{}”][et_pb_row custom_padding_last_edited=”on|phone” disabled_on=”off|off|off” _builder_version=”4.14.7″ _module_preset=”default” max_width=”800px” custom_padding=”24px||||false|false” custom_padding_tablet=”” custom_padding_phone=”29px||||false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_cta title=”Need to Send Large Files?” button_url=”https:\/\/app.massive.io\/en\/signup” button_text=”Sign-up for Free” module_class=”starttrial” _builder_version=”4.14.7″ _module_preset=”default” header_level=”h5″ header_font=”||||||||” header_font_size=”27px” header_line_height=”1.3em” custom_button=”on” button_text_color=”#03D6B3″ button_bg_color=”#FFFFFF” button_border_width=”0px” button_border_radius=”50px” button_use_icon=”off” button_custom_padding=”10px|42px|10px|42px|true|true” link_option_url=”https:\/\/app.massive.io\/en\/signup” global_colors_info=”{}” button_border_width__hover_enabled=”on|hover” button_custom_padding__hover_enabled=”on|hover” button_custom_padding__hover=”|2em|||false|false” button_border_width__hover=”0px”]<\/p>\n
Create a free MASV account to get started.<\/p>\n
[\/et_pb_cta][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"
Keith Putnam es un profesional de la producci\u00f3n de v\u00eddeo que ha pasado los \u00faltimos a\u00f1os como t\u00e9cnico de imagen digital (DIT) y director de fotograf\u00eda de segunda unidad y en las series de la CBS Bull y Madam Secretary. Lee su entrevista.<\/p>","protected":false},"author":11,"featured_media":12467,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"2880","footnotes":""},"categories":[358],"tags":[],"class_list":["post-12417","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-experts"],"acf":[],"_links":{"self":[{"href":"https:\/\/massive.io\/es\/wp-json\/wp\/v2\/posts\/12417","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/massive.io\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/massive.io\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/massive.io\/es\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/massive.io\/es\/wp-json\/wp\/v2\/comments?post=12417"}],"version-history":[{"count":0,"href":"https:\/\/massive.io\/es\/wp-json\/wp\/v2\/posts\/12417\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/massive.io\/es\/wp-json\/wp\/v2\/media\/12467"}],"wp:attachment":[{"href":"https:\/\/massive.io\/es\/wp-json\/wp\/v2\/media?parent=12417"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/massive.io\/es\/wp-json\/wp\/v2\/categories?post=12417"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/massive.io\/es\/wp-json\/wp\/v2\/tags?post=12417"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}