» Posts Tagged ‘dit’
This is part three of a 3-part series on the evolving role and responsibilities of the contemporary Digital Imaging Technician. Nofilmschool interviewed 4 working DITs from New York and L.A. to help contextualize the role they play and offer insights into the business. Part 1 went into misconceptions about DITs, part 2 offers information about getting hired — now this one is for the gear-head in all of us. Read on for a look into some tools and practices behind the job. More »
There has been some significant news on the Arri front over the past few months — namely, that the growing Alexa family is forking out ‘budget’ HD-specific and Doc-friendly body implementations. All the while, AbelCine has been a great resource on keeping us all up to date on the family’s tech specs & specifics. This trend continues as AbelCine’s Andy Shipsides walks us through Arri’s Alexa XT system. Briefly, the XT series upgrades Alexa to Codex-powered internal ARRIRAW recording. Andy’s videos go through the ins and outs of this system — detailing everything from virtual media to live-grading metadata. Read on to check out the videos. More »
This is part 2 of 3 of our Defining DIT interview series. In part 1 we discussed the biggest misconceptions surrounding the work of the contemporary Digital Imaging Technician. This week we’re talking about getting hired, the DIT’s working relationship with the DP and other insights into the trade. Hit the jump to hear it directly from some of the country’s leading professionals in this field from both L.A. and New York. More »
Ben Cain performing an iris pull during a take.
It’s easy to put an idea in someone’s mind — yet incredibly difficult to bore it out. Somewhere along the line, perhaps in the film industry’s switch from analog to digital, major misconceptions about the Digital Imaging Technician‘s place on set have arisen. We’re here to set the record straight. A DIT is an agent of the cinematographer, and is served by a video engineering background for image quality control, troubleshooting, on-set color correction, and managing the workflow of a production. Some of the industry’s top working DITs from both New York and L.A. took time out of their schedules to talk with nofilmschool about the state of the DIT and to help clarify the effect they can have on any production — large or small. Read on for part 1 of this 3-part series. More »
Your on-set digital workflow can vary wildly depending on your camera, budget, and schedule with each variable uniquely affecting the others. But, is there a flexible, multi-purpose software package that can truly cover all the bases, and at a better price than all the rest? Wolfcrow has sought to answer this question in a recent, very detailed, post. Click through for a few more details, and to see if you agree with its findings. Could Premiere & Adobe CC have the overall best value? More »
A few weeks ago, I was fortunate enough to attend the grand opening of Light Iron’s New York facility. I met very nice, dedicated, hard-working (and patient!) people there, and got a chance to hear words from Michael Cioni, the post company’s CEO. I also got a chance to scratch the surface of some of Light Iron’s infrastructure — including its LILY PAD DIT station — which aims to empower the on-set technician, and crew as a whole, with a seamless media experience. In addition to the hardware, this experience is supercharged by the likes of Light Iron’s custom Todailies app, which will receive an upcoming upgrade as well. More »
The media management and quality control handled by the digital imaging technician and post house is nearly universally vital in modern filmmaking, where each digital camera brings its own varying formats, workflows, and quirks. This need for DITs and post houses, however, may evaporate just as quickly as it has arisen — at least according to the predictions of Michael Cioni. As the CEO of post house Light Iron, he has helped pioneer RED workflows at the highest level of filmmaking, so his word is not to be taken lightly — particularly since he’s predicting the end of what his and any other post house does as we know it by 2017. Furthermore, what cameras (and therefore camera teams) will have to take care of themselves is staggering, especially taking a look at the duties fulfilled by today’s high-end DIT carts — including those assembled by Light Iron itself. More »
By now many of you may be familiar with the Blackmagic Cinema Camera – it made a splash at this year’s NAB show in Las Vegas. There wasn’t a person I talked to that wasn’t excited to know more about this tiny little RAW-shooting 1080p camera. Thankfully, the camera shoots more than RAW video, as it can also shoot slightly compressed DNxHD and ProRes — but what if you do want to shoot RAW? Just like with DSLRs, most of the RAW video available in higher-end cameras is slightly compressed, as bitrates can exceed bandwidth. To keep costs down, the RAW in the BMCC is completely uncompressed RAW video, which means, you’re getting bit for bit everything that is coming out of the A/D convertor (which takes the information from the sensor and translates it into digital values). We’ve talked a bit about increased disk space requirements, but rarely about affordability. The trend for most technology is to get cheaper over the long term — but that’s not exactly happening with hard drives for a number of reasons. More »
Ever lost important footage because your backups failed, or maybe you didn’t back up at all? Well how about losing an entire feature film and a year’s worth of work? While this isn’t a new story, as it was featured in the special features on the DVD, the tale of the failed Toy Story 2 backup is fascinating. It just proves that even when you’re spending millions of dollars, a few mistakes can be disastrous. More »
With Story and OnLocation, Adobe has been adding to their better-known video applications (Premiere Pro, After Effects) and transforming their suite into an end-to-end production solution. The latest addition is an application called Prelude, and in San Francisco they recently demoed the new software, which looks to be an on-set ingest and logging program.
Gamma & Density make high-end tools for DIT (Digital Imaging Technicians) such as their complex 3cP data management system. However, as more and more productions go digital, it seems to me there will be a need for a more budget-friendly DIT solution. Utilizing the iPad seems like a perfect way to allow cinematographers and directors to communicate their aesthetic intentions on-set. However, G&D’s $400 pricing seems a bit high for the indie crowd; anyone know of any alternatives? Here’s the promo video: More »