Are the DIT's days numbered?

[Peter Hodgins]

As William "Bill" Munny would say ....
"All our days are numbered, kid".

 

[Steve Sherrick]

Karel, I certainly don't have a problem with you asking the question. Seems perfectly legit to ask this. I do however feel that the term DIT is still a bit confused at times, at least when you look at it from the strict definition as set by Local 600. A DIT is able to handle image manipulation on set, whether it's baked in or the setting of meta data, LUTs, etc. Data backup also falls under their jurisdiction in the sense that they are allowed to do it or in the best case scenario, supervise a Digital Loader. However, a digital loader is not a DIT and can not manipulate image, for example changing look metadata in Redcine-x. Creating dailies is another area that sometimes crosses the line. Our guidelines state that we can transcode but we do not edit, i.e creating selects based on time codes, doing trims, etc. That falls under editorial.

But in the non-union world a "DIT" is doing a whole bunch of things. Sometimes they are just doing data management. Sometimes they are grading, maybe even editing on set. It's a bit of the wild, wild west.

Here's my observation having done a few commercials, films, etc. Producers want to cut down on crew wherever they can , especially when their budgets are getting cut down a lot these days. So on some shoots which used to have a 1st AC, 2nd AC, Loader, Utility, maybe they are now going with just a 1st and a loader, and in some extremes just a 1st. Anyone who has ever seen a 1st AC work knows it's a demanding job and they are constantly under scrutiny. When a 1st or even a 2nd is also asked to do the job of digital loader, it's bound to cause problems. Somethings going to fall through the cracks. A Digital Loader should be focused only on data. Getting the files safely from camera to backup drives, and completing all of the necessary tracking/paperwork. If the job is too much for one AC, then hire a 2nd AC. Don't put a 2nd on who will also act as digital loader.

In terms of the DIT, if the requirements of the shoot are such that getting the most out of the format visually is priority, then having a DIT is crucial. They can be the bridge between production and post. Whether it's RED, Sony F35, Arri D21/Alexa, there's going to be a need for technicians who can help the camera team get the absolute best quality out of a given camera. When the day comes when you just have to hit record and the camera knows exactly how to get the best (which we all know is subjective and can't be automated) footage, most DPs/DITs will lose interest. Obviously we're not close to that happening yet, so I see the role of DIT staying around for a long time. But it's important to realize that not every shoot will have the budget for one, nor will they perhaps need one if the requirements of the shoot dictate it's not necessary. I think a lot of the higher productions realize the importance of this role and budget accordingly.

One more thing on the Digital Loader position. This position is all about trust. It's not that hiring an intern is completely wrong. If it's a non-union job and you have an intern that has demonstrated a comprehensive understanding of what needs to be done and they have a track record of doing the job right each time, by all means you probably trust them to handle the job. I think the problem is when interns or people lacking experience are assigned this task because the perception is that it's easy and just requires some dragging and dropping. That's when disaster is bound to happen. It has happened. I won't bore people with the horror stories. As long as this position is looked at with respect, those horror stories can be avoided.

Karel, good question. Hopefully we're helping put together a picture of what it's like out there in the world of professional production. Hopefully you'll hear from some of the guys and girls who are out there working on some of the really big productions who can give you even more insight, like Brook, Steve, and others. I think they'll agree that the DIT is and will be needed for quite some time.

 

[Simon Baechler]

LAUGH OUT LOUD... I love how you think offloading and backing up data is such a trivial task or having someone to provide "looks" to the DP is something that can be automated. Too funny.

I would't want a computer nerd generating the looks for my footage.

And I find Shot Put Pro is much safer than the drag and drop way of copying that the DIT's I've had do.

I can teach a clapper loader in five minutes how to download Red footage with Shot Put. But it would take days to teach a DIT how to do clapper loader work.

 

[Steven Parker]

I don't see the DIT going anywhere any time soon; if anything, I think we'll see a bigger need for them as traditional "lab" and post-preparation work gets pushed into the shooting environment.

Take the Red Rocket card, for instance. I guarantee producers and directors will expect transcoded dailies for editorial by the end of the day - on set - if that isn't happening already. And who better to do it than the person who's handling all the footage anyway?

Arri's Alexa offers Pro-Res recording in addition to its higher format recording function... DITs (or at least their Data Managers) will soon be expected to start dropping footage into edit timeline bins, possibly logging and transferring so the editor can start working immediately. Not fair to the DIT, but that's where it's going.

I think the tape-based systems still in use will continue the old paradigm, but any file-based acquisition system will eventually pull post work on to the shooting set as a matter of course. It's been happening to me for well over a year on most of my Red shoots.

Of course I protect my camera department and try to give the post work to the editorial staff, but sometimes you get trumped... like when the show offers an untrained intern to handle the production's camera original material.

No, I'm pretty sure DITs will be around for quite some time because the lines have blurred between shooting and post and someone needs to be the liaison.

 

[Jay Gannon]

I would't want a computer nerd generating the looks for my footage.

And I find Shot Put Pro is much safer than the drag and drop way of copying that the DIT's I've had do.

I can teach a clapper loader in five minutes how to download Red footage with Shot Put. But it would take days to teach a DIT how to do clapper loader work.

See this is the attitude I don't agree with. No you cant teach someone data management in 5 minutes. Its a skill that requires a lot of work and a lot of technical knowledge. You cant teach the workflow design and backup management, you can't teach the storage management and hardware choice in 5 minutes.
A DIT is not any guy with a Macbook and a card reader. If your DIT shows up with such fire him immediately. If he is dragging and dropping, don't shoot. He isn't what he is claiming to be.

 

[Ian Laurie]

I would't want a computer nerd generating the looks for my footage.

And I find Shot Put Pro is much safer than the drag and drop way of copying that the DIT's I've had do.

I can teach a clapper loader in five minutes how to download Red footage with Shot Put. But it would take days to teach a DIT how to do clapper loader work.

And I can teach a camera trainee to turn on lights, point a camera, and press record. Certainly wouldn't call them a cinematographer.

 

[Morning Glory]

If he is dragging and dropping, don't shoot. He isn't what he is claiming to be.

Exactly.

 

[Conrad Hunziker]

I dont see the role of the DIT going away anytime soon for Red shows.

I was privileged to work with David on his first two Red features. I was the B camera operator and taught the ACs how to use the Red, and supervised Eric Yu, the digital loader, as he downloaded and checked material. That show didnt require much in terms of a DIT, because of the way David works, and his keen eye. Doing looks in camera wasnt even an option in those early builds, and most of the software was still new to the Red workflow. But when an issue happened (as the time when an AC pulled the mag without unmounting it - this was before REDundead), it was my job to see we got the footage.

My next feature coming up is a 3D shoot, 4 Reds, 4 months. We will be doing heavy look management, heavy data management and a ton of instant dailies for different departments on different sides of the planet. There are now a lot of tools for look management on the Red, ironically none of which completely fit the bill for this show. So multiple pieces of software for multiple tasks and multiple cameras. Someone needs to oversee all of it, and thats my job, as the DIT. I wrote my software for this purpose - to make one aspect of the DIT's job easier.

Each show has it own needs and different workflows. But it all needs to come together, from camera through post. And thats what I see as the evolving role of the DIT. So it may change names, but the job and its requirements are not going away.

 

[Dan Kanes]

See this is the attitude I don't agree with. No you cant teach someone data management in 5 minutes. Its a skill that requires a lot of work and a lot of technical knowledge. You cant teach the workflow design and backup management, you can't teach the storage management and hardware choice in 5 minutes.
A DIT is not any guy with a Macbook and a card reader. If your DIT shows up with such fire him immediately. If he is dragging and dropping, don't shoot. He isn't what he is claiming to be.

Can you Explain Further?

You want to fire someone who is using a Macbook Pro with a firewire 800 card reader if they are doing Data Management? I just want to hear what someone who is being asked to do data management / DIT work on a 2 day commercial is supposed to bring to the table if they haven't worked with the Producers and DP who hired him and there was no previous discussion about a more robust workflow or process in advance. (Think Night before the shoot, and you get called to do data management on a Commercial to be shot on Red for $350/day, zero Prep, zero need for preset looks or LUT management.)

 

[Cüneyt Kaya]

like always, on big budget shows you will have a DIT for a very long time (shooting with 3-4 cams, preparing dailies,syncing,offline data--this wil be hopefully gone in 3-4 years, he will have one or two Towers with class A Monitors, Raid Systems, should have basic editing/compositing skills...
on small budget and indieshows it will go away faster than kryptonite killing superman

 

[Jay Gannon]

If your putting your name on the contract, no matter how small the shoot you should be bringing a MacPro with a calibrated screen (Not necessarily a grading screen depending on the rate), a RAID5 array and a 2nd RAID1 array. That fits in 2 Pelican cases that can go in the back of most cars. That would be the bare minimum I would arrive on set with.
Unless the location absolutely requires it, the laptop should only be for a backup.
A Macbook Pro doesn't have the throughput to be doing an ingest and a 2 site backup to 2 separate drives/arrays on a single bus.
I can have that goto rig ready in under 60 minutes. Thats just my take on what I feel is appropriate but if I was in the situation I wouldn't feel that I was doing what I was hired to do without the adequate tools. You wouldn't rent a RED package and be happy if only the body showed up with no screens/evf/drives etc, why should you be happy with an under-equipped DIT. I am a believer that if you are charging for your services and therefore a professional at your job you should come prepared with adequate tools for the job.

 

[Cüneyt Kaya]

If your putting your name on the contract, no matter how small the shoot you should be bringing a MacPro with a calibrated screen (Not necessarily a grading screen depending on the rate), a RAID5 array and a 2nd RAID1 array. That fits in 2 Pelican cases that can go in the back of most cars. That would be the bare minimum I would arrive on set with.
Unless the location absolutely requires it, the laptop should only be for a backup.
A Macbook Pro doesn't have the throughput to be doing an ingest and a 2 site backup to 2 separate drives/arrays on a single bus.
I can have that goto rig ready in under 60 minutes. Thats just my take on what I feel is appropriate but if I was in the situation I wouldn't feel that I was doing what I was hired to do without the adequate tools. You wouldn't rent a RED package and be happy if only the body showed up with no screens/evf/drives etc, why should you be happy with an under-equipped DIT. I am a believer that if you are charging for your services and therefore a professional at your job you should come prepared with adequate tools for the job.

depends really on the job, you will not need on a 6 locations in one day musicvideo a macpro....

a super cool thing would be a DIT Bus/Truck....build into the back of the car, powered by 4 car batteries or so...then you are mobile, fast and dont need to stress the light department to give you power.

 

[Jay Gannon]

depends really on the job, you will not need on a 6 locations in one day musicvideo a macpro....

a super cool thing would be a DIT Bus/Truck....build into the back of the car, powered by 4 car batteries or so.

Yep thats where the location aspect comes in. I would bring the laptop to the locations and have the footage brought back to the RAID/Backup by a runner.

Hehe I am actually looking into just that at the moment. Kitting out a VW Transporter as the ultimate DIT station, including a small grading room etc.

 

[Dan Kanes]

depends really on the job, you will not need on a 6 locations in one day musicvideo a macpro....

a super cool thing would be a DIT Bus/Truck....build into the back of the car, powered by 4 car batteries or so...then you are mobile, fast and dont need to stress the light department to give you power.

That would be Siiiiiick (as the kids these days say).

Just curious - I find a Macbook Pro to be too slow for serious data throughput too. I built a custom i7 workstation with integrated Raid 5, and enough ports to connect several raid 1 units as well. Just using a good Samsung Display that is calibrated every time it goes out.

I'm not a career DIT though - I adapt to the scenario around me, and bring whatever is necessary for whatever I'm doing as the case permits.

You've seen Ghost Dog? I'm like a camera Department Samurai!

 

[Cüneyt Kaya]

That would be Siiiiiick (as the kids these days say).

Just curious - I find a Macbook Pro to be too slow for serious data throughput too. I built a custom i7 workstation with integrated Raid 5, and enough ports to connect several raid 1 units as well. Just using a good Samsung Display that is calibrated every time it goes out.

I'm not a career DIT though - I adapt to the scenario around me, and bring whatever is necessary for whatever I'm doing as the case permits.

You've seen Ghost Dog? I'm like a camera Department Samurai!

i am all for the BUS thing,
a lot of producers would hire that thing for features

 

[Tony Lorentzen]

Hehe I am actually looking into just that at the moment. Kitting out a VW Transporter as the ultimate DIT station, including a small grading room etc.

As am I. Would love to see what you come up with

 

[Chris Kenny]

Some aspects of the current DIT job might get automated away. Dialing in looks is obviously already less important with cameras that shoot raw. And as DPs and ACs get more comfortable with the new cameras, there will be less need to have an extra guy around just because he's the only one who knows the camera. (Which still happens a lot right now.)

But if anything there will only be more need for hard-core tech-savvy types on set in the future, and despite things like automated backup, on-set data management will likely get more complicated because so many new possibilities will open up. In five years it might be routine to do things like setting up a wired/wireless LAN on set, with various crew members using tablets, laptops or workstations to review clips, attach metadata, check looks, perform rough edits, fire clips over the Internet to remote clients or off-site VFX consultants, etc.

Somebody is going to have to know how to set all of that up, keep it running smoothly, and at least for the first few years show people how to use it.

 

[Karel Bata]

I think it's a bit like the way the role of assistant editor has changed. Once upon a time it was inconceivable to not have one. Who else would do the rubber numbering? That was a skill. If you read Ralph Rosemblum's book on editing you get a sense of what it used to be like. He used index cards to keep track of slates!

That doesn't mean we don't need assistant editors any more, and on a feature they're essential, but their role has changed, and many editor friends of mine working on smaller shoot don't have a need for them.

 

[Jay Gannon]

Yep where the budget allows its feasible to do all of the above all ready. We can do onsite streaming, we can build a telephone network for long term sets. Wireless networks onset(Something else that will be going into my van). Onset website (I see this becoming big thing) that has the scripts, schedules, phone numbers, etc etc. The future is going to be great.

 

[Jeff Brown]

"a super cool thing would be a DIT Bus/Truck....build into the back of the car, powered by 4 car batteries or so...then you are mobile, fast and dont need to stress the light department to give you power."

3 Motorhome batteries (300AH) is enough with a 3K inverter. Gets about 10hrs running a Big Foot trolley (rollon- rolloff) containing: Mac Tower/Rocket / 16TB RAID / 3K UPS / 42" P11 Plasma

I also have 1 2K genny silent genny for longer duration shoots. Multiple locations and all you need to do is flick a switch.

I've kitted 2 transporters like this for on location dailies.

Cheers