Worth noting that the DIT department's role can be very different between countries and productions. As a DIT in the UK, I've never physically checked the sensor each morning, but I will always have a two-camera Livegrade cart so I can make colour corrections to the footage on the fly, something that wasn't really touched on here. I'll be watching every take live with the DoP and gaffer, looking for lighting inconsistencies, lens artifacts, etc. I like to think that I am to the DoP what the script supervisor is to the director.
I work as a DIT in Sweden, and I agree. It's also not customary for the DIT to poke around on camera settings here, that usually gets passed on to the 1st AC who does the actual settings changes. Grading also depends on the job. Sometimes they just want a basic Rec 709 LUT, sometimes they want a short grade pass and sometimes the DOP will have prepared a LUT that they want some small adjustments to (contrast tweaks, etc.)
@@eruannster Settings for me pretty much depends on the job, sometimes I do it, sometimes I ask the focus puller - it generally depend on how the camera team likes to work, I'll just go along with their preference. On bigger jobs I'll have multiple settings presets loaded into the camera so we can swap shooting modes really fast.
I'm just a beginning hobby photographer and didn't even shoot video once with my camera, but I do have a question regarding the comments above: Why would you ask someone else to change the settings? In my mind it's just a few clicks to change the settings to achieve decent exposure, frame rate, motion blur etc. I know it's a lot more complicated than that, but I'd like to know what makes it complicated enough to delegate these tasks to someone else 🙃
@@ExecuteOrder.66 some of it is practical, some of it is politics. It's the focus puller's camera, they know exactly how it's been set up and some don't like anyone else to touch it, which is fair enough. Also sometimes the camera won't be very easily accessible, so they'll have to coordinate with the grip team to get it into a position where you can actually press a button on it. Some focus puller's handsets have a lot of control functionality, so they don't even have to move to change a setting. Also, a lot of DoPs want me to be always at the monitors next to them, so stepping away to tweak a setting isn't a great idea. In these cases it's much easier to radio the camera team to get the setting changed.
Calculating drive requirements can be really difficult. I worked as a DIT on a film a couple of years ago that I thought I had bought more than enough drives for. Single camera, Alexa Mini, ProRes 4444, anamorphic. And then I realized that this particular director liked to keep rolling, rolling, rolling for super long takes all day every day and I had to go begging the production for more hard drives like 3 weeks into a 6 week shoot. Not very fun. (Also the editing assitant wasn't thrilled having to sift through all that footage. "Why are you shooting such LONG TAKES?!" "The director wants it that way." "Oh for fucks saaaaake...!")
You literally do nothing. That’s why there is a loader. I’m sure if anything you begged the loader to grab you some tea from crafty and that’s about it.
@@ufonomicon Well, there was technically no loader on that shoot since it was shot digitally. I guess if anything, I was the loader, because I did it all. Data wrangling, making proxies, adding metadata, syncing audio, uploading, keeping in touch with the editing assistant... it was just me doing everything and keeping track of everything which isn't at all stressful. *Eye twitch*
@@eruannster That's fairly normal. I find the 2nd AC will hand me cards, and I deal with everything between that and handing clean cards back to them. I have never in my career seen a dedicated loader. But you should have been able to calculate the average shooting ratio after the first week, and then known you'd run out. At that point you'd relay storage concerns to production and they can handle the conversations with the DoP.
@@RichardStrong86 Yeah, the problem was that the director shot longer and longer shots. So at first it was completely fine and manageable, but as time dragged on into the first month (out of three) I noticed that we were running out of storage faster than I had anticipated. I did speak to the line producer about it, and she went up the flagpole and got more money to buy hard drives. They tried speaking to the director, but he wasn't particularly interested in changing his "vision", which was apparently to not stop rolling the camera.
My last ever production I worked as a DIT on was a nightmare. Somehow, the director/producer thought I would be production assistant when I was taking care of 4 different camera teams as a camera technician and data wrangler/onsite editor/DIT. I had to run 4 flights with gear and craft, because "you'll mostly do nothing for hours on end". I was left alone at set at 11pm, having to call a moving company to pick up the rented gear, call security to let me out AND STILL deliver the material before 8am to the customer that I had to edit. It was my highest income on for a 2 day shoot, but fuck that production and producer!
@I Am JTEK yea, being a DIT is rarely fun if you're the only one left cleaning house for everyone else. 😂 I've had similar experiences on other shoots, but where the directors typically stick around and help out. Hell, one directors even stayed and played the piano with some of us while waiting for the delivery guy, and security to do a lap. Even got to keep a lot of the expensive food that was left over. I just wish more shoots was like with those guys.
That is why there are unions. Freelance gigs are ripe for abuse like that. Also make sure you are only doing the job you got hired for and nothing more.
He gets a lot of stuff wrong though because roles are different in every country. Canadian crews operate differently than US and both operate differently than UK, etc etc.
The problem of defining what a DIT is, stems from the fact that "DITs" are often assigned different jobs on different production levels. On lower-budget productions, some DITs are actually doing what is technically DMT's(Data Management or Loaders) work as discussed in the latter part of the video, backing up files and doing checksums to ensure the integrity of the footage. This also happens in bigger budget productions. But in some higher-end production, DIT's main job is to oversee the exposure through scopes of different cameras and provide the DP with an accurate preview of the footage with show lut, especially calibrated monitor and a blackout tent. Some of the DITs do livegrading, for instance: Deakins' famous CDL+Lut workflow. If this is involved, DITs have to make sure related metadata are correctly relayed to the post or correctly applied to dailies. As for setting up cameras, a DIT may provide a printed guideline file to the 1st/2nd AC so that all cameras(or one) are correct, they may not necessarily physically touch the camera. I would argue DITs on huge budget shows may also act as a old fashioned Video assist operators, serving as a hub for all incoming signals and redistribute them to other departments, but I can be wrong
You could literally make a video about a DIT going into the honey wagon and whacking off all day between takes bc that’s all they do. They are worthless. This video is a lie and made by someone who obviously has no experience with a real movie or tv production crew. I should start making little videos that actually tell the truth.
Canada - 1AC handles all things camera and is usually pulling focus. 2nd ac handles lenses and clapper board. trainee handles cables, batteries and coffees. Camera Operators are the laziest bunch as they just point the thing these days (steady cam ops not included - seen those folks run miles in a condensed area to the detriment of the grip who has to keep them from falling).
Could be commonplace elsewhere but I've also never seen them touch a camera in the states. I swing between AC and DIT all the time. Usually the only cam gear they touch is a reader. I still enjoyed this video and the creator got a ton right, so overall its a good vid imo.
I leave the handling of camera settings to the AC for the most part. The DoP on higher end productions (in the UK) will require me to work with them to create custom looks and be next to them.
Keeping track of the LUTs used for a shoot allows for an easier colorgrade process in post. Since good LUTs require some tameness (saturating or grading too hard looks bad on reference monitors since you need them for a general shoot, vs the Lumerti color you end up in post for that specific shot), they can be a great starting point that can help with shot matching. When you only need to load one LUT for a scene, it makes the process of managing color much easier.
@@_trismegistus Don't know about other areas, but in the UK the DIT rate is about the same as a focus puller, data manager is about the same as a 2nd AC.
This is all the technical geeky stuff im totally into, i think i have 10x more experience with proxies, transcoding, codecs etc than i do actually working with a camera hmm... Really great video, glad to learn more about the industry
6:50 What? A D.I.T. SHOULD NOT BE TOUCHING THE CAMERA SENSOR.. Smh that’s the AC’s role. A DIT doesnt operate the camera in any physical way. This is just plain wrong information.
It depends, we are more flexible here in France, as a DIT wich is also Phantom Operator i touch and clean cameras on almost every projects i worked on and it's pretty commun here. So ...
DIT is Digital Imaging technician AKA making a Good image with the DP. You are explaining the roll of an off-loader. Crating CDL's/ LUT's networking the cameras together for changing settings and judging exposure with scopes and Wireless iris controls is more of what you would be doing. Offloading Digital Negative is not the roll.
I've looked up what LUT stands for, but I would still like to see a video about what a LUT *is*, what they do, and how they are used and so on. I'm sure this isn't the first video I've watched that carefully explains what a person or piece of equipment does, while also talking about LUTs like everyone already knows what they are.
A LUT is just a way of transforming colour in a preset way. A lot of filmmakers use them kind of like Instagram filters, but on a professional set we use as a way of previewing the final grade on the on-set monitors.
After minutes trying to explain what's a lut to my bf's girlfriend she just spit out "aaah ok, it's like an instagram filter". It haunt me for a while to realise how much it's true, but i come up with an answer; you can buy frozen lasagna in your local supermarket and you can ordrer lasagna in a fancy restaurant with a good chef, they are both lasagne, 5$ and 50$ lasagna.
LOTS of AC duties being delegated to DIT for some reason here, but thats coming from SoCal/Hollywood so roles might be diff elsewhere. I've never seen a DIT really touch cameras, sensors, lenses, etc. Otherwise this vid covered a whole bunch of great info. Parashoot scares the shit out of me and I'll never understand it! Format your cards IN CAMERA not on a computer, ESPECIALLY not AUTOMATICALLY ERASING CARDS before you have a chance to verify backup(s!) stuck.
Parashoot is not at all scary. Parashoot does not format cards, it simply flips 1 bit in the header information of the file structure which causes the camera to see it as not valid, and therefore forcing an in-camera format. But parashoot can reverse that erasure before you format. It will also verify that card is backed up to the destination before you even do that. You'd know that if you looked into the software.
It was definitely original, but I think it was overrated. The insane in-your-face editing and sound towards the end went on for way too long and just became tedious.
Data Wrangler (also called Data Manager) is just responsible for copying and backing up cards. A DIT is more concerned with colour, exposure, workflow, image continuity, etc, making sure the DoP is getting what they want out of the camera sensor. On smaller productions the jobs kind of roll into one, and you end up having one person doing it all. On bigger productions the DIT department will be the DIT, a data manager, a DIT assistant, and maybe a trainee as well. You unfortunately end up with people who have just done data management work calling themselves DITs when they don't know the first thing about how to plan a workflow, etc.
It's pretty hard to do that honestly, if you even vaguely know what you're doing. Also, on any major production the edit assistants will check through all the footage and make sure everything is there before cards are formatted and returned to camera.
It can be caused by a lot of things, but it's usually when you have lights that are at a different frequency than your camera shutter, you end up with a rolling strobe down the frame. But I've had imaging issues caused by things as weird as a bad power regulator on the camera's sharkfin.
They do a LOT, such as budgeting, scheduling, hiring, scouting, legal, etc. A book called “Producer To Producer” has a vast amount of knowledge on what a producer does at a Feature Film level (which is honestly overwhelming to take in imo.)
@RichardStrong86 a DiT is more the Glue between The edit team and camera team If you are running a cheap producing then even the sound person can sort out your lenses, but on a serious production with a decent budget everyone has there place and job and the Dit is responsible for date , meta date, Settings ect. But should no go anywhere near your lenses that,s for Focus pullers and camera Assistants. Next you gonna tell me the grip should the sound.
I think it's as complicated as you make it. Some digital cameras already provide feedback on their exposure and colors. But in the industry they seem to split up every function into separate roles for people to ensure that everything is perfect. It seems very tedious tbh but maybe in the end it's just less stress on the cinematographer to ensure they do their job better.
Well, I mean... with film you don't know what you get until like a week later when the film is developed. Remember, you only see vaguely what the final image will look like from the video tap on film cameras. Shot digitally you have it all right there and you can see exposure and settings immediately. Also if you're out in the boonies, good luck transporting film back and forth. With digital you just need power and hard drives.
@@ReactionShot Definitely how you get fired. Also not sure how that would be done accidentally as film canisters are pretty damn well sealed/taped up most of the time.
@@eruannster I've seen it happen. First hand. It was a nightmare. Almost comically horrible. Thank god it wasn't me financing it. It's just the nature of the business. There are so many things that can go wrong that it's almost certain, something will go wrong. That's what makes it so much fun🙂
@@charlie9086 o WOW I'm sorry I wasn't trying to be rude I was just saying it because it's a little difficult for me to concentrate on the information in the video if all the time I'm only focusing on his accent ( Obviously it's not his fault) but believe me I didn't say it in an offending tone. i just use the word annoying as an expression but in that case i'm sorry it wasn't my intention
@@DIEGORICARDOPERDOMOAMADO Eh, regardless it's still really rude to mock someone's accent or say you don't like it. He is perfectly intelligible and even if you find it distracting, that's not a HIM problem, that's a YOU problem, so why bother pointing it out in the first place?
Worth noting that the DIT department's role can be very different between countries and productions. As a DIT in the UK, I've never physically checked the sensor each morning, but I will always have a two-camera Livegrade cart so I can make colour corrections to the footage on the fly, something that wasn't really touched on here. I'll be watching every take live with the DoP and gaffer, looking for lighting inconsistencies, lens artifacts, etc. I like to think that I am to the DoP what the script supervisor is to the director.
I work as a DIT in Sweden, and I agree. It's also not customary for the DIT to poke around on camera settings here, that usually gets passed on to the 1st AC who does the actual settings changes. Grading also depends on the job. Sometimes they just want a basic Rec 709 LUT, sometimes they want a short grade pass and sometimes the DOP will have prepared a LUT that they want some small adjustments to (contrast tweaks, etc.)
@@eruannster Settings for me pretty much depends on the job, sometimes I do it, sometimes I ask the focus puller - it generally depend on how the camera team likes to work, I'll just go along with their preference. On bigger jobs I'll have multiple settings presets loaded into the camera so we can swap shooting modes really fast.
I'm just a beginning hobby photographer and didn't even shoot video once with my camera, but I do have a question regarding the comments above:
Why would you ask someone else to change the settings? In my mind it's just a few clicks to change the settings to achieve decent exposure, frame rate, motion blur etc.
I know it's a lot more complicated than that, but I'd like to know what makes it complicated enough to delegate these tasks to someone else 🙃
@@ExecuteOrder.66 some of it is practical, some of it is politics. It's the focus puller's camera, they know exactly how it's been set up and some don't like anyone else to touch it, which is fair enough.
Also sometimes the camera won't be very easily accessible, so they'll have to coordinate with the grip team to get it into a position where you can actually press a button on it.
Some focus puller's handsets have a lot of control functionality, so they don't even have to move to change a setting.
Also, a lot of DoPs want me to be always at the monitors next to them, so stepping away to tweak a setting isn't a great idea. In these cases it's much easier to radio the camera team to get the setting changed.
Thanks a lot for this additional information
All the equipment shown is usually pro level and way out of my budget, but I’m glad I own that air blower that was shown…. I can finally relate 😂
Calculating drive requirements can be really difficult. I worked as a DIT on a film a couple of years ago that I thought I had bought more than enough drives for. Single camera, Alexa Mini, ProRes 4444, anamorphic. And then I realized that this particular director liked to keep rolling, rolling, rolling for super long takes all day every day and I had to go begging the production for more hard drives like 3 weeks into a 6 week shoot. Not very fun.
(Also the editing assitant wasn't thrilled having to sift through all that footage. "Why are you shooting such LONG TAKES?!" "The director wants it that way." "Oh for fucks saaaaake...!")
You literally do nothing. That’s why there is a loader. I’m sure if anything you begged the loader to grab you some tea from crafty and that’s about it.
@@ufonomicon Well, there was technically no loader on that shoot since it was shot digitally. I guess if anything, I was the loader, because I did it all. Data wrangling, making proxies, adding metadata, syncing audio, uploading, keeping in touch with the editing assistant... it was just me doing everything and keeping track of everything which isn't at all stressful. *Eye twitch*
😂😂😂 i feel the AE’s pain
@@eruannster That's fairly normal. I find the 2nd AC will hand me cards, and I deal with everything between that and handing clean cards back to them. I have never in my career seen a dedicated loader. But you should have been able to calculate the average shooting ratio after the first week, and then known you'd run out. At that point you'd relay storage concerns to production and they can handle the conversations with the DoP.
@@RichardStrong86 Yeah, the problem was that the director shot longer and longer shots. So at first it was completely fine and manageable, but as time dragged on into the first month (out of three) I noticed that we were running out of storage faster than I had anticipated. I did speak to the line producer about it, and she went up the flagpole and got more money to buy hard drives. They tried speaking to the director, but he wasn't particularly interested in changing his "vision", which was apparently to not stop rolling the camera.
My last ever production I worked as a DIT on was a nightmare. Somehow, the director/producer thought I would be production assistant when I was taking care of 4 different camera teams as a camera technician and data wrangler/onsite editor/DIT. I had to run 4 flights with gear and craft, because "you'll mostly do nothing for hours on end". I was left alone at set at 11pm, having to call a moving company to pick up the rented gear, call security to let me out AND STILL deliver the material before 8am to the customer that I had to edit. It was my highest income on for a 2 day shoot, but fuck that production and producer!
@I Am JTEK yea, being a DIT is rarely fun if you're the only one left cleaning house for everyone else. 😂
I've had similar experiences on other shoots, but where the directors typically stick around and help out. Hell, one directors even stayed and played the piano with some of us while waiting for the delivery guy, and security to do a lap. Even got to keep a lot of the expensive food that was left over. I just wish more shoots was like with those guys.
That is why there are unions. Freelance gigs are ripe for abuse like that. Also make sure you are only doing the job you got hired for and nothing more.
@@f1l603 waiting for a delivery guy? get a transport runner to do it.
Never stop making these videos about crew roles!!!
He gets a lot of stuff wrong though because roles are different in every country. Canadian crews operate differently than US and both operate differently than UK, etc etc.
The problem of defining what a DIT is, stems from the fact that "DITs" are often assigned different jobs on different production levels. On lower-budget productions, some DITs are actually doing what is technically DMT's(Data Management or Loaders) work as discussed in the latter part of the video, backing up files and doing checksums to ensure the integrity of the footage. This also happens in bigger budget productions. But in some higher-end production, DIT's main job is to oversee the exposure through scopes of different cameras and provide the DP with an accurate preview of the footage with show lut, especially calibrated monitor and a blackout tent. Some of the DITs do livegrading, for instance: Deakins' famous CDL+Lut workflow. If this is involved, DITs have to make sure related metadata are correctly relayed to the post or correctly applied to dailies. As for setting up cameras, a DIT may provide a printed guideline file to the 1st/2nd AC so that all cameras(or one) are correct, they may not necessarily physically touch the camera. I would argue DITs on huge budget shows may also act as a old fashioned Video assist operators, serving as a hub for all incoming signals and redistribute them to other departments, but I can be wrong
I was on a Foundation S3 set yesterday with a friend who was DIT there and I think you completely nailed what he did (and I very lightly assisted :))
Keen to see more about these other departments. DIT, video aren’t talked about enough
You could literally make a video about a DIT going into the honey wagon and whacking off all day between takes bc that’s all they do. They are worthless. This video is a lie and made by someone who obviously has no experience with a real movie or tv production crew. I should start making little videos that actually tell the truth.
Great video. I would say the 1st AC usually handles the camera here in LA. They maybe required to do more but it all depends on the budget.
Canada - 1AC handles all things camera and is usually pulling focus. 2nd ac handles lenses and clapper board. trainee handles cables, batteries and coffees. Camera Operators are the laziest bunch as they just point the thing these days (steady cam ops not included - seen those folks run miles in a condensed area to the detriment of the grip who has to keep them from falling).
"Rolls", "footage"; it's nice to know that these terms will still be used as media evolves, reminding us of the history behind them!
Maybe it’s just me but I’ve literally never seen a DIT touch a camera. Let alone clean a sensor.
Could be commonplace elsewhere but I've also never seen them touch a camera in the states. I swing between AC and DIT all the time. Usually the only cam gear they touch is a reader. I still enjoyed this video and the creator got a ton right, so overall its a good vid imo.
I leave the handling of camera settings to the AC for the most part. The DoP on higher end productions (in the UK) will require me to work with them to create custom looks and be next to them.
Pretty much how it is in Canada as well.
Keeping track of the LUTs used for a shoot allows for an easier colorgrade process in post. Since good LUTs require some tameness (saturating or grading too hard looks bad on reference monitors since you need them for a general shoot, vs the Lumerti color you end up in post for that specific shot), they can be a great starting point that can help with shot matching. When you only need to load one LUT for a scene, it makes the process of managing color much easier.
I'll answer this question my man. It's the single worst job I think I I've ever had to experience
I was gonna say, sounds like something that should have a pretty high pay to go along with it.
@@_trismegistus Don't know about other areas, but in the UK the DIT rate is about the same as a focus puller, data manager is about the same as a 2nd AC.
Is there anything on a set the DIT isn't responsible for? Next you're gonna tell me they get asked to fill in when the actor is sick!
😂
Thank you thank you thank you so much for your videos am so happy i found your channel ❤️🙏🏽🙏🏽🙏🏽
Most dont use G drives anymore since it been taken over by WD and got a lot of bad reviews to trust for master or even back up.
Since when do DIT's do assistant camera and assistant editor work?
The AC one not sure, but I was on a series for a few days where the DIT was the A.E.
You clearly don't know what a DIT is.
been waiting for this for ages! thanks!
Thanx for this video. Always wondered what the DTI guy does on set.
Amazing video! No BS! Straight to the point! Amazingly explained! 🙌🏻🙌🏻🙌🏻
This is all the technical geeky stuff im totally into, i think i have 10x more experience with proxies, transcoding, codecs etc than i do actually working with a camera hmm... Really great video, glad to learn more about the industry
Great job and vídeo. Thanks
6:50 What? A D.I.T. SHOULD NOT BE TOUCHING THE CAMERA SENSOR.. Smh that’s the AC’s role. A DIT doesnt operate the camera in any physical way. This is just plain wrong information.
It depends, we are more flexible here in France, as a DIT wich is also Phantom Operator i touch and clean cameras on almost every projects i worked on and it's pretty commun here. So ...
DIT is Digital Imaging technician AKA making a Good image with the DP. You are explaining the roll of an off-loader. Crating CDL's/ LUT's networking the cameras together for changing settings and judging exposure with scopes and Wireless iris controls is more of what you would be doing. Offloading Digital Negative is not the roll.
how do you know all that stuff
I've looked up what LUT stands for, but I would still like to see a video about what a LUT *is*, what they do, and how they are used and so on.
I'm sure this isn't the first video I've watched that carefully explains what a person or piece of equipment does, while also talking about LUTs like everyone already knows what they are.
A LUT is just a way of transforming colour in a preset way. A lot of filmmakers use them kind of like Instagram filters, but on a professional set we use as a way of previewing the final grade on the on-set monitors.
something is not right when people are still asking about what a lut is.
A look up table. It's a set of instructions to help software (in a computer, camera, or monitor) transform the incoming feed.
After minutes trying to explain what's a lut to my bf's girlfriend she just spit out "aaah ok, it's like an instagram filter". It haunt me for a while to realise how much it's true, but i come up with an answer; you can buy frozen lasagna in your local supermarket and you can ordrer lasagna in a fancy restaurant with a good chef, they are both lasagne, 5$ and 50$ lasagna.
I am from Kerala, India and i had asissted with a Di technician. It was nic to work with them. We used resolve to convert.
Great video.
McKenzie Pass
sent this to my parents.. thx +1
Satterfield Stravenue
LOTS of AC duties being delegated to DIT for some reason here, but thats coming from SoCal/Hollywood so roles might be diff elsewhere. I've never seen a DIT really touch cameras, sensors, lenses, etc. Otherwise this vid covered a whole bunch of great info. Parashoot scares the shit out of me and I'll never understand it! Format your cards IN CAMERA not on a computer, ESPECIALLY not AUTOMATICALLY ERASING CARDS before you have a chance to verify backup(s!) stuck.
Parashoot is not at all scary. Parashoot does not format cards, it simply flips 1 bit in the header information of the file structure which causes the camera to see it as not valid, and therefore forcing an in-camera format. But parashoot can reverse that erasure before you format. It will also verify that card is backed up to the destination before you even do that. You'd know that if you looked into the software.
@@RichardStrong86 My AC's require Parashoot. I love it!
My guy, all the tasks during prep and on-set that involve touching the camera are Assistant Camera tasks, not the DIT. At least in Canada.
this video is misleading
Side Note: Everything Everywhere All At Once is an awesome movie.
eh
That movie sucks. I don’t understand why so many blow hards hype that crap show so much.
It was awful 😢
It was definitely original, but I think it was overrated. The insane in-your-face editing and sound towards the end went on for way too long and just became tedious.
It definitely deserved every Oscar. My favourite movie of 2022
Watsica Lake
what about non-set sound?
wich is the different btw DIT and Data Wrangler?
Data Wrangler (also called Data Manager) is just responsible for copying and backing up cards. A DIT is more concerned with colour, exposure, workflow, image continuity, etc, making sure the DoP is getting what they want out of the camera sensor. On smaller productions the jobs kind of roll into one, and you end up having one person doing it all. On bigger productions the DIT department will be the DIT, a data manager, a DIT assistant, and maybe a trainee as well. You unfortunately end up with people who have just done data management work calling themselves DITs when they don't know the first thing about how to plan a workflow, etc.
@@christykail3314 Thank you
Potato gets a sweet patato.
I was DIT for my feature film crew
390 Rigoberto Square
Imagine forgetting to copy out a whole scene🤌🏻
It's pretty hard to do that honestly, if you even vaguely know what you're doing. Also, on any major production the edit assistants will check through all the footage and make sure everything is there before cards are formatted and returned to camera.
Freelance filmmakers accidentally training to become DIT's
On photography sets they are digitechs. His / her role varies these days. On low low budget sets the digitech is also a 1st assistant
Arden Plain
Would somebody please explain to me what light strobing and ghosting defects are. Thanks in advance 🙏🏾
It can be caused by a lot of things, but it's usually when you have lights that are at a different frequency than your camera shutter, you end up with a rolling strobe down the frame. But I've had imaging issues caused by things as weird as a bad power regulator on the camera's sharkfin.
@@christykail3314 thanks
where the dit was when Zack Snyder shot Army of the dead
I still don't know what producers do.
They fire people who don't know what they do.
They do a LOT, such as budgeting, scheduling, hiring, scouting, legal, etc.
A book called “Producer To Producer” has a vast amount of knowledge on what a producer does at a Feature Film level (which is honestly overwhelming to take in imo.)
@@ChristopherShipe A book, eh? I'm holding out for the youtube version.
@@FireplaceHarmony >koffkoff
Dooley Drive
Emmanuel Groves
only the camera department should touch the camera NOT the DIT, the Gaffer, sound person costume and make..
The DIT is a part of the camera department.
@@RichardStrong86 Not in a traditional sense there is no way the DIT should be touching the lenses or camera sensor
DIT is camera department
@RichardStrong86 a DiT is more the Glue between The edit team and camera team
If you are running a cheap producing then even the sound person can sort out your lenses, but on a serious production with a decent budget everyone has there place and job and the Dit is responsible for date , meta date, Settings ect. But should no go anywhere near your lenses that,s for Focus pullers and camera Assistants.
Next you gonna tell me the grip should the sound.
256 Kub Island
Friesen Valley
Littel Freeway
Cormier Lane
Sleeping and eating crafty
If you're a Livegrade DIT on big productions, you get zero time for sleeping 😂
@@christykail3314 🤣
Annamae Greens
Melissa Parkways
ima be dit on the biggest hollywood productions
Jaqueline Ferry
Gaylord Stravenue
Good grief. It's easier and way less complicated to shoot on film. Even shooting on HDCAM-SR was far easier than all of this.
I think it's as complicated as you make it. Some digital cameras already provide feedback on their exposure and colors. But in the industry they seem to split up every function into separate roles for people to ensure that everything is perfect. It seems very tedious tbh but maybe in the end it's just less stress on the cinematographer to ensure they do their job better.
Well, I mean... with film you don't know what you get until like a week later when the film is developed. Remember, you only see vaguely what the final image will look like from the video tap on film cameras. Shot digitally you have it all right there and you can see exposure and settings immediately.
Also if you're out in the boonies, good luck transporting film back and forth. With digital you just need power and hard drives.
Until the day your PA exposes the film on the way to the lab...after you've wrapped an expensive location.
@@ReactionShot Definitely how you get fired. Also not sure how that would be done accidentally as film canisters are pretty damn well sealed/taped up most of the time.
@@eruannster I've seen it happen. First hand. It was a nightmare. Almost comically horrible. Thank god it wasn't me financing it.
It's just the nature of the business. There are so many things that can go wrong that it's almost certain, something will go wrong.
That's what makes it so much fun🙂
It's really distracting the way he talks, but, its stills a really good video
Why are you so rude?
@@charlie9086 o WOW
I'm sorry
I wasn't trying to be rude
I was just saying it because it's a little difficult for me to concentrate on the information in the video if all the time I'm only focusing on his accent ( Obviously it's not his fault)
but believe me I didn't say it in an offending tone.
i just use the word annoying as an expression
but in that case
i'm sorry
it wasn't my intention
@@DIEGORICARDOPERDOMOAMADO Eh, regardless it's still really rude to mock someone's accent or say you don't like it. He is perfectly intelligible and even if you find it distracting, that's not a HIM problem, that's a YOU problem, so why bother pointing it out in the first place?
69304 Towne Common
61733 Estelle Inlet
Sounds like a stressful role to be in.
I absolutely love it!