DITS & Camera Data Supervisors

Camera Data Supervisors have come to the fore on larger scale, particularly 3D productions where the volume of data generated demands general oversight. These productions often have on set data labs that will process and QC for 2D and 3D, produce deliverables to cutting room, dailies to production and create multi-formatted back-ups. With the Camera Data Supervisor monitoring these aspects, the DITs are able to concentrate more on the front end acquisition of the imagery.

DIT

We see the DIT as an integral part of the camera department, supporting the Director Of Photography while managing the data workflow. They don’t replace the role of Clapper Loader (2nd Assistant Camera) – the role is in addition to a traditional 35mm camera crew. Their duties include the following:

  • Establish a rapport with the DP and an understanding of his/her desired look. Advise on achieving the look from a technical point of view.
  • Understand the relationship between sensor settings, the RAW image, and the look achievable in a colour grading suite.
  • Help test equipment in advance of the shoot.
  • Set up the camera for the shoot – including the frame rate, aspect ratio and the colour space for monitoring. Consult with the Workflow Manager on compatibility with the chosen post-production route.
  • Work with the 1st and 2nd ACs to ensure the smooth running of the shoot.
  • Securely back up the Data (rushes) and cross check it against the camera notes. Make file size comparisons.
  • Check that the files and folders are correctly labelled and structured to ensure a successful path through post-production (offline, extraction, grade and deliverables).
  • Check for clip integrity – examine each shot to ensure that it plays correctly from beginning to end. Flag up errors to the Camera Department.
  • Study each take for sensor performance and, in accordance with the pre-discussed look, flag up any visual anomalies to the DP.
  • Fill out mag report sheets for Production and Editorial.
  • Back up the rushes to a transit drive for delivery to Editorial.
  • Provide a point of communication for the Workflow Supervisor and Editorial department.

Training

Be trained by the best! We offer expert training in all areas, including working on set as a Digital Imaging Technician, editing Red footage and understanding Red post production workflows. Email us for more details of our current training courses.