More and more productions want to do shots that require movement, so you have to think about where to position yourself so that the video feeds always reach you. “When people mention monitoring, they probably think it’s as simple as putting a Bolt on a camera and having the receiver in video village pulling the feed. These can get some amazing shots, but feeding them to our production can be a real challenge.” Mounting them to Steadicams, cranes, dollies, drones. Today, everyone wants to have cameras that are mobile. “Filmmaking has changed a lot in recent years. Our expertise working with digital tools that most filmmakers don’t have time to learn makes us invaluable to a production.” Now, we DITs have become the base of operations when it comes to every piece of technology on set. Production wanted us to handle lighting, image routing, live color grading. On top of getting dailies and transcoding, technology allowed for live color grading on-set. “As digital technology started replacing all of the old film tools, the roles of our DIT positions evolved too. So I went around as a downloader and first pass colorist for this media.” Converting files took a long time and some people even found it crazy that a digital camera could do the same thing as film. Remember that this was when digital cinema cameras were still brand new. When I moved over to Los Angeles after film school to work in the industry, I found a lot of productions required someone to also color grade this footage. “Back then, my job was to get the data from the cameras and transcode it into a usable format. This was around the time that digital cameras first started making an appearance, and filmmakers were scrambling to figure out how to work around the technology.” I was hired as an intern for this production company that purchased two of the first 25 RED cameras ever made. I’ve had a passion for film and shooting ever since my teenage years, which made me decide to attend film school in Colorado in the early 2000s. “The start of my path down this road can be traced to loving film growing up. He shares with us how the relatively new DIT position has changed since its inception, and what essentials he keeps on his cart for productions. Based in Hollywood CA, Chris has a DIT history spanning over 10 years, having worked on some impressive titles like Captain America: Winter Soldier, Furious 7, Star Trek: Beyond, and most recently the eponymous remake of the famous 80s show, Magnum P.I. And unlike positions such as cam ops or ACs, the roles of DITs are always evolving.Ĭhris Cavanaugh is all too familiar with this changing dynamic. These days, DITs juggle multiple tasks ranging from routing video, dailies, color grading, image management and much more. DITs are there to make sure all of the gear works smoothly.” - Chris Cavanaugh, Local 600 DIT.īut as any DIT will tell you, their roles encompass far more than just being the repair guy on production. Whether it’s a monitor going dark, camera setting change, lighting issue, flicker issue, anything. “When shit hits the fan on set, DITs are the one everyone looks at to get it fixed.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |