What a DIT needs to know about the RED

[Giancarlo Bianchi]

Could anyone explain me what DIT means?
And the knowledge he needs to properly operate the camera, and save the day if needed?

Thanks!

 

[Jason Wingrove]

STAND BY! I just did a great interview with one of the best DIT's, episode 10 (not out yet but v soon) of the REDCentre podcast

isten here:
http://www.fxguide.com/redcentre

or subscribe in itunes:
http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=277775280

 

[James Brundige]

Digital Information Technician - who is in charge of managing, checking, and backing up digital footage from flash card or hard drive. Really needed if you are shooting to flash cards, and swapping often.

 

[Meryem Ersoz]

here's good links describing DIT duties --

http://www.redhax.net/wiki/On_Set_Footage_Transfer

http://www.r3ddata.com/

transferring data, spot-checking R3Ds, checksumming files, creating back up files, preparing rushes, it can be relatively simple or rather complicated....it really depends on the needs of the shoot and the available equipment...

 

[M Most]

Digital Information Technician - who is in charge of managing, checking, and backing up digital footage from flash card or hard drive. Really needed if you are shooting to flash cards, and swapping often.

That is not correct. The term DIT stands for Digital Imaging Technician, and the responsibilities are camera setup, camera maintenance, and image manipulation, as well as system design, in some cases. What you have described is what some here and elsewhere have decided their definition of it is. But the truth is that the term DIT was coined by IATSE Local 600, put into the two most recent contracts, and defined pretty specifically in those contracts. If you want to redefine it as a data backup person, well, I guess it then goes into the category of the numerous other terms that people here have decided they can redefine as they see fit - like telecine.

 

[Giancarlo Bianchi]

WEll, Thanks for the Input....
So that`s wath I`ll be doing in my next work :umm: Any advice?
It will also me my firsth time infront of a Red One (until mine arrives).

 

[Meryem Ersoz]

That is not correct. The term DIT stands for Digital Imaging Technician, and the responsibilities are camera setup, camera maintenance, and image manipulation, as well as system design, in some cases. What you have described is what some here and elsewhere have decided their definition of it is. But the truth is that the term DIT was coined by IATSE Local 600, put into the two most recent contracts, and defined pretty specifically in those contracts. If you want to redefine it as a data backup person, well, I guess it then goes into the category of the numerous other terms that people here have decided they can redefine as they see fit - like telecine.

That's pretty interesting. I always enjoy knowing originating stories. If you're a member of IATSE Local 600, then I guess the DIT duties are clearly defined.

But if you're just a person with a RED camera and some projects, I guess there's some room to evolve the definition, alongside the evolving marketplace for the technology.

Eisenstein, you should really probably check with whoever hired you and say, "Here's what I understand that my duties will be....blahblahblah." And then just ask, "do you have any additional expectations that I haven't already covered?" You shouldn't be asking us...you should ask them.

Whatever you do, don't try to fake your way through it on the set, it will be dreadfully obvious. Better to admit that you know some stuff and are also there to learn some stuff....

 

[Gunleik Groven]

I am with Michael here (even though I have put stuff into the term and defined it a bit myself) If the DIT is a backup guy, he's gonna be off set rather sooner than later...

By now, I think the DIT will stay on-set.

 

[Giancarlo Bianchi]

You got my Backwards, I was hired for doing Data backup and for on set editing. I just didn`t know that it was called DIT.

Anyhow, I have experience on the field, but it`s my first time with a RED, so I would like to know a clear path and workflow for what I will be paid to do. I dont want to do something stupid like just copying the QT proxies and erasing the R3Ds, It may seem obvious, but obvious sometimes isn´t enough.

Im assuming that "I don`t know nothing", its new technology (at least different interface), so I would like to recap all the knowledge I can get.

And yes, I am also going there to learn so I know a thing or two when I get my red.

 

[Blair S. Paulsen]

Dit, Dit, Das... Dam

Dit, Dit, Das... Dam

Mike, you are a crusty SOB - but we love you anyway

This topic deserves more discussion as the workflow of the RedOne requires similar but different operational responsibilities than traditionally considered DIT duties. Geoff Boyle has posited a position known as DAS - Digital Acquisition Supervisor, that encompasses a greater range of activities.

If I am writing the job description, the key task of the DAS is to improve the integration of production and post. File format choices, dailies creation, data security, data transfer methodology, choice of drives and connection standards (for instance eSATA vs FW800 for transit drives), look management and more may be tasked to the DAS. A good post supervisor might figure out the entire pipeline and then expect the DAS to implement the protocols on set. On other jobs the DAS might have conversations with the DP and the editor / post house then design and implement a strategy based on their understanding of best practices.

As new builds are released, as the tool sets in RedCine and RedAlert evolve, as support for r3d and RedCode in popular NLEs propagates - best practices must evolve as well. On a broader note proper staffing definitions for data centric acquisition beyond just the RedOne needs to be addressed by the unions.

My sense is that producers hate to add personnel when they are already looking to keep costs down. This has led to resistance to the obvious choice of just adding a job classification for the modern DAS. It is important to note that the traditional DIT job typically included baking in looks, ensuring broadcast legal signal values were maintained and other technical issues that are not fundamentally critical to the RED workflow. I would also note that the most common term I hear these days is "data manager", not DIT or DAS.

I continue to promote the notion that a good DAS will save more than they cost by promoting a more efficient integration of production and post. I also think the 600 and other entities that organize our profession should keep up with the times and offer producers job titles and standard rates that accurately reflect modern production environments. The RedOne is simply a high profile vanguard of an era of data centric motion media technology that the P2 cameras brought to the fore.

Anybody from the 600 care to jump in here? If this has been addressed since I last checked please provide an explanation and/or a link as the RedUser community is full of folks with existing skills sets that would likely suit the position.

Is this a threadjack? I say no, because the question posited by the thread starter was simply to identify what Red specific knowledge a DIT needs in order to do their job. Until you define what the responsibility envelope is for the DIT in a particular production infrastructure, I don't see how to answer that question accurately.

I have worn quite a number of different hats on the 26 Red jobs I have worked to date. My best advice for a noob is to go out on a low profile Red job, even if it is unpaid, and get hands on experience. There are also some videos and tutorials around, just try and find the most up to date ones as there are subtle and not so subtle differences between the best practices of working with earlier iterations of firmware/software and the most current versions.

On a related note, one of the leading DI shops in Hollywood is planning a build 16 best practices symposium in August. I will yield to Neil to make the formal announcement to the RedUser community at the appropriate time. Perhaps he can be persuaded to produce a summary of the white papers presented for posting on the forum.

 

[Scott M]

Came across this one time (copied from a PDF):

Digital Imaging Technician (D.I .T.)
• Creates package for the production based on stage or location, how the show will be presented, and who will be using the equipment (film or video oriented)
• Should know each piece of equipment, how it works, and how to troubleshoot each part of the system
• Sets up, operates, troubleshoots and maintains digital cameras, monitors, cables, recording devices, and other related equipment
• Should know the production’s entire post-production path and how it will be finally delivered once completed
• Make recommendations on post-production facilities and other technical issues to keep the post-production path as smooth and uneventful as possible
• Should know how to match the color on two or more cameras and maintain the look of the cameras if a Video Controller is not on the production
• Should establish a creative relationship with the D.P. so that he/she can set the color of the cameras, often before the D.P. asks for a specific change

 

[M Most]

Came across this one time (copied from a PDF):

Yes, pretty much exactly as I described it.

Blair, I've been a member of Local 600 for a number of years now, as a Visual Effects Supervisor/DP. The primary difficulty with defining a data wrangler's job is that as with many things that technology brings, it doesn't fit cleanly into an existing box. For instance, recordist duties are generally classified as part of Local 695 (the sound local, which also has jurisdiction over many other things involving video, such as VTR operators and playback operators), even though in many cases today, the VTR is part of the camera package. To me, the data wrangler's job is more a part of editorial than it is the camera department, which would place it under the auspices of Local 700 (the editors' local). I completely agree that this needs to be sorted out, sooner rather than later, but it's going to take the International to step in and do that, and they move slower than traffic on the 405. And while all this talk about the IA may not mean much to many people here now, it will when they try to make a living in this industry.

Oh, and in answer to your question, in a number of recent cases that I know of, the data wrangler was put under the 600 designation of loader.

 

[Lewis-M Soucy]

Ok, cool, but if anyone noticed the big land around Hollywood called planet earth, where local 600 is nothing but some warehouse door number, it's nice to have a global understanding of the term and/or what might be expected of that new job on set... Some in europe also call it the new 3rd assistant camera term/job on HD shoots... So thanks to the thread bearer, and to the others, well, I guess that's another local thing issue, right... Local... Local... 600 or not... Locally, anywhere, it's got to mean something too... Thanks...

 

[RyanKunkleman]

STAND BY! I just did a great interview with one of the best DIT's, episode 10 (not out yet but v soon) of the REDCentre podcast

isten here:
http://www.fxguide.com/redcentre

or subscribe in itunes:
http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=277775280

awe ur makin me blush Jason :blush:

 

[Lyndel Crosley SOC]

Ok, Now that you have all the answer from the Community.

A DIT: Is a Digital Imaging Technician

The Job can very from set to set. But the bulk of the job is to load the LUT’s use for Digital image system.

The DIT also set the Gamma curve for the Camera System according to what the DP wants to see (in how the camera will handle shadows/ Blacks and High lights/ Whites)
A DIT will also do what is called painting the image (shifting or correcting the color on set)

Teching a Red Shoot is NOT the same as DITing a film it does help if you understand the rules of RGB color space. It’s not a must know. The job for a RED is more about knowing the camera its menus and how to move and protect the image files and ingesting them into the workflow.

Lyndel Crosley.soc
Digital Imaging & Data/ Media management
Technician
www.Lcrosley.com

 

[Giancarlo Bianchi]

Thanks everyone for your contribution, especially Mr. Glory (one again) and DragonsEyes.

 

[Giancarlo Bianchi]

Ok, cool, but if anyone noticed the big land around Hollywood called planet earth, where local 600 is nothing but some warehouse door number, it's nice to have a global understanding of the term and/or what might be expected of that new job on set... Some in europe also call it the new 3rd assistant camera term/job on HD shoots... So thanks to the thread bearer, and to the others, well, I guess that's another local thing issue, right... Local... Local... 600 or not... Locally, anywhere, it's got to mean something too... Thanks...

I guess the name isn`t that important, not more that what a DIT is espected to do on set, call it DIT, 3rd assistant, or Geek :matrix:
Anyway, since we are in the same side of the ocean (Im in Barcelona), maybe you can help me out, by sharing yourr whole Euro-Red experience and knwoledge.

 

[M Most]

Generally correct, with a few caveats:

Ok, Now that you have all the answer from the Community.
The Job can very from set to set. But the bulk of the job is to load the LUT’s use for Digital image system.

Sometimes. It depends on the set. Sometimes the job is largely about designing, implementing, and maintaining viewing systems, which are not necessarily driven by lookup tables. And there is a lot more to camera setup than loading up LUTs on the set monitors (or what feeds them).

A DIT will also do what is called painting the image (shifting or correcting the color on set)

Once again, sometimes. However, painting the cameras is often a separate job with a separate job designation (video controller). On a multicamera sitcom, for instance, you'll often have both crew positions, filled by two different people.

Teching a Red Shoot is NOT the same as DITing a film it does help if you understand the rules of RGB color space. It’s not a must know. The job for a RED is more about knowing the camera its menus and how to move and protect the image files and ingesting them into the workflow.

That's a pretty good explanation. And I like your differentiation between DITing and Teching.

 

[Yannick Sadler]

Ok, cool, but if anyone noticed the big land around Hollywood called planet earth, where local 600 is nothing but some warehouse door number

Touché :sarcasm:

The primary difficulty with defining a data wrangler's job is that as with many things that technology brings, it doesn't fit cleanly into an existing box.

I define it as the postproduction tech that is on the set.

My sense is that producers hate to add personnel when they are already looking to keep costs down.

Just sell it as the cost of saving filmstock + lab costs which is far greater than the DIT's paycheck.

 

[Mark L. Pederson]

But if you're just a person with a RED camera and some projects, I guess there's some room to evolve the definition, alongside the evolving marketplace for the technology.

Eisenstein, you should really probably check with whoever hired you and say, "Here's what I understand that my duties will be....blahblahblah." And then just ask, "do you have any additional expectations that I haven't already covered?" You shouldn't be asking us...you should ask them.

post of the day.