The road to a DIT
Posted 19 January 2013 - 06:46 AM
What workshops should I look into, and also, what will be a good path to take to gain work experience as a DIT?
Posted 28 March 2013 - 01:55 AM
Things I would consider important:
-A working understanding of colour theory and grading (some DITs come out of the post/editing/colorist disciplines)
-On set and more specifically camera experience (I am biased but find the best DITs are generally ones who did time as 2nd and 1st ACs who understand the systems and politics of a film set)
-you have to have a good mind for quickly absorbing technical knowledge. This job is always changing. There is always some new piece of software, some new camera system that production will want to use. You need to be able to figure out how to integrate it's function seamlessly in to the workflow you've developed with post.
My advice would be try to get a job at a camera rental house, a post house, or in the camera department on a production that is shooting digitally. If you network (ie don't act like an ass) and get a reputation as a hard worker with sharp technical skills it won't take you long to break in.
Posted 05 June 2013 - 02:48 PM
I started a s a shooter/editor, doing my own thing for a number of years before a DIT friend mentioned he thought I could handle the work and would enjoy it. I found quickly I was a good contender - equal knowledge camera and post - as well as a deep INTEREST in all things workflow / digital. I say interest cause if you're not personally motivated to research, test, understand, etc on your own, there's no workshop that will help you out.
I think the key is being FRIENDLY, getting CREATIVE WAY TO EXPLAIN DEEPLY TECHNICAL ISSUES - ie: Producer asks why the image looks like poop (they're seeing the image in LOG), and good NETWORKING skills.
All the above said, it's still Hollywood - 'it's not what you know it's WHO'.... without my Union DIT buddy I had, who luckily I had helped out big in the past, I would have never gotten on set.
Posted 11 June 2013 - 04:52 PM
Adding to Dwight and Ryan I think a DIT should also have more than general knowledge about data transfer, checksum creation and comparison (e.g. why is MD5 faster than SHA-2 ? ). Also good communication with the post production facility (or the guys you hand the files over) is very important. Furthermore as a DIT you should be involved in the process of discussing what equipment to be used for saving and backup of files - and what is required by the film insurance company.
Posted 17 July 2014 - 11:04 AM
I would agree with everything everyone has said so far. I worked in post for 10 years before moving to be a DIT. I also did VTR for a while. In my opinion the DIT is the middle man between the camera department and post. You have to have an understanding of both if you want to be effective at your job. You need to make sure to communicate with a projects post supervisor to make sure you are providing the requirements for what they need. I showed up halfway through a shoot one time that didn't start with a DIT and the AC's had both camera's shooting at different frame rates and one was shooting in 422 and the other in 444. Your job is to make sure that cameras are consistent and footage comes out right.
As Dwight mentioned you should have a good understanding of color theory and have practice as a colorist as well. You need to be able to look at the shot with the DP and given that he isn't a complete ass, work with him to dial in the shot to where it should be. I also do a lot of scene matching to make sure that every time we move the world, that the lighting is consistent from shot to shot.
Outside of that you should have a good understanding of technology, file formats, archiving and data throughput. Your job is the one on set that is constantly evolving and changing, literally day by day. If you don't stay on top of that information you will fall behind everyone else