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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

A Digital Loader is not a DIT

arrinick said:
This is true to a point. A DP should know all about the effects of pushing stocks, bleach bypass, cross processing, shooting reversal, flashing and more. Thats a lot more complicated than reading a histogram, and exposing in low light, and they should shoot tests if they are not sure. It's our job to understand the technology.

Nick
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Of coarse it is your job to know where the technology is heading and what are the options... BUT its not a DoP RESPONSIBILITY to know all the existing workflows for all the existing cameras (because RED its not the center of the universe...) and I stress again the word RESPONSIBILITY of the data flow, the color management, and the technical solutions that have to be taken in the narrow area of the DI...

DoP has to stick with his art... or else, he will became an engineer... technology is not like film use to be, it changes every two to three years, DoP's, at the end, would be tech freaks... I don't say that they must not follow the technology and know everything about it, but is one thing the general knowledge as a DoP and another to be a THE responsible engineer...
 
I have to respectfully call bullshit on the above post ;-)

It's the DPs that ARE on top of all the technology, be it lighting, Mo-co, or cameras, that see the possibilities for new techniques and make stuff happen. Garret Brown, springs to mind. Stanly Kubrick wasn't a DP but he pushed the envelope tech wise, was he not an artist? Was Davinci just an engineer?

I would not except a job for which I was not fully prepared, and I like to work, so I tend to be prepared ;-)

Nick
 
arrinick said:
Was Davinci just an engineer?
Nick
Click to expand...

Why you thing that an engineer could not be an artist?

Engineering IS, a form of art... look at a MacBook Air, you thing the one that design it, was less artist than Da-Vinci? You thing that an architect is less artist than an DoP? Every time that I, design something and after months of hard work have it on my hands, I really feel like an artist... But I'm just an electronic engineer...

Its not that am arguing, what you thing for your profession, but check all the ASC DoP's, and rarely you will find one, that can take the "technicalities" load... thats why a lot of DIT's are making there living in Hollywood...

Ask your self, if Storaro ASC could ever be involved to a digital film without a DpE (advanced DIT)?

Doesn't deserve a digital medium like RED, to be used from an artist of his caliber?

I just saying, that a position that's being demanded and established from DoP's (the DIT), has to be upgraded to a more demanding role, like the above description, and not just a camera owner or a data wrangler... the advanced DIT has to have an academic level of knowledge.

Just an example: a Data wrangler once, said to a DoP, that he kept a P2 card in his pocket with coins and because of the static electricity the card was erased... the odd thing was that he really believed that (the data wrangler)... an DpE would never say something like that, because he knows the physics behind that story...

On the other hand if you feel capable to handle everything by your self, take a data wrangler and do your job... But don't say to others what to do, none has forced you to use a DIT or what I call DpE...

I'm not going to use your language, but please respect the other opinion, as I do, you can argue freely... In this forum the freedom of speech is well established.
 
I'm not going to use your language, but please respect the other opinion, as I do, you can argue freely... In this forum the freedom of speech is well established.
Click to expand...

No offense intended, I certainly respect your opinion, I just have a different one.

Nick
 
I posted this in another thread, but feel it is important to post it here as well...

I agree - Data Wrangler is not accurate and should not be used.

DIT is also a term for a position that existed BEFORE cine cameras captured digital files. It was (and still is) the job of the Digital Imaging Technician to work with live signals.

A good example of this would be on a multi-camera HD sit-com where this person matches ("paints") Cameras (sets looks) by adjusting color temperature, saturation, gain, gamma, contrast, brightness, as well as setting up proper sync, genlock, timecode, and calibrating on-set monitors.

As digital Cameras added the ability to record to file-based systems, the term DIT sometimes was used since there wasn't another category yet.

Depending on the production, the person transferring and logging files from the Camera may also have many other responsibilities.

I've worked on projects where this included being the Camera Tech (basically a 2nd AC of sorts) and had to know the complete Camera Menu system. There are times when the DP and/or ACs rely on your help to evaluate proper exposure, check focus, help set up monitoring, timecode, audio - you name it... and other times where all that is required is data backup. Also, some productions are asking for playback (Video Assist) of the transfered clips straight from the Data Capture station. You can see how on Union shows, this can get very confusing as to who (which Local) should have jurisdiction over this work.

The way I look at it (on Union shows) is that if you are adjusting live signal settings on the Camera (painting the image), this is a job of the DIT (600). If you are at all playing back Clips on set (sending out a feed to the Director at "Video Village" or even just scrubbing through them on your local Computer monitor for the DP) this is Video Assist and under the jurisdiction of the the 695 Sound/Video Local. And finally, if you are just copying files, this has not been covered in the CBAs yet, so technically, either Union should be able to do it (although it is most similar to recording a duplicate, which is technically 695 territory.)

Right now, all of this is being re-evaluated by the Locals, since many times you need the same person to be able to do many of these functions. I believe the Local 695 is in the best position to continue this because these Video and Sound Engineers have been doing this type of work for many many years and have the background and skillsets already.
For years, shows have had the need to capture video digitally and immediately turn it around for playback within the scene. For example, on countless shows, the Camera Dept will record Video surveillance onto prosumer digital Cameras (such as HVX-200) and will give the Video Dept the footage to backup and later playback within a scene onto a video monitor (not to mention all the Digital Video Assist systems in use today). And sound has been dealing with digital file workflow for a long, long time. The Engineers in this Union already have the experience and skillsets doing this work... not to mention that any form of off-Camera playback is under their Local's jurisdiction.

The job of Data Capture is not an entry level position, such as a Film Loader (or Digital Loader) and it does not offer a path towards becoming a Camera Operator, as many who are Film Loaders start out as to get experience. It requires years of experience with Computer operating systems, File recovery, RAID setups, expertise with the given Camera's menus and functions, Electrical (UPS setup and maintenance, proper use of location electrical setup, avoidance of ground loops, etc.), Multiple Analogue and Digital Video formats, Sound, Audio and Timecode understanding, Video Monitoring calibration and setup experience, various cables and connectors, knowledge of photography and cinematography, exposure, RAW and compressed formats, grading and editing software, backup and logging software, and on-set etiquette / presence. (This last one being extremely important as well.) If you are the best technician, but don't know how to act on set or speak with a DP or Director or Client, you won't continue to work. Proper set-etiquette often is something that can not be fully taught. You must realize the big picture and be able to work under pressure, and go with the flow of production, knowing when the right time is to discuss problems and how. Often, the DP may rely heavily on your skills to help with proper exposure or to work out an issue with the Camera. You may have to juggle many jobs - perhaps be backing up content, while looking at a 1:1 zoom of a requested clip for checking focus, then copying a file to send to someone doing on-set compositing, while reformatting a new card or changing settings on the Camera, such as resolution, framerate, shutter speed, frameguides, etc.

Of course, there may be gigs that only require a very basic need for off loading the data and logging it, but I've found these to be rare, especially once the production actually gets going.

Also, your setup needs to be secure, and mobile, since many jobs are on location or move around on each setup. Again, depending on the type of production, you may need to put some thought into designing a good mobile Data Capture Cart.

I just wanted to chime in here, because people need to realize that this is not an entry level position. It is VITAL to the project's integrity and should be considered a top priority both in planning properly and in budget. I've heard nightmare stories of people who tried to get by with a guy with a laptop, and external USB drive, and a folding table.

Don't let that be you.

As for the name, I think Data Capture Tech (DCT) or Data Capture Engineer (DCE) works very well.
 
Casey Green said:
If you are the best technician, but don't know how to act on set or speak with a DP or Director or Client, you won't continue to work. Proper set-etiquette often is something that can not be fully taught. You must realize the big picture and be able to work under pressure, and go with the flow of production, knowing when the right time is to discuss problems and how...
Click to expand...

And with whom. And who else to keep in the loop.

Really good post, Casey. "Real" sets are not like "indie" sets. There's room (and need) for both, but for those who want to work on studio productions, it would be wise to heed Casey's words. And that goes for other departments as well (visual effects comes to mind).
 
D a s

D a s

I like to use the term Digital Acquisition Supervisor (DAS). I think Casey lays out the on set realities quite well. I follow Evangelos' DpE reasoning. I am not a union basher but I do see the point that the best interests of the people on the front lines often seem less important than the politics and turf wars.

On a project with a Post Supe I go to them first and ask the kind of questions about deliverables, editing platforms, etc mentioned earlier in this thread. With that knowledge in mind I talk to the producer, director and DP about their goals for the project: noise free or gritty, lots of set ups per day or every frame a masterpiece, client/agency rep on set or just craftspeople (influences video village needs), is the frame inviolate or might there be some punching in during editorial, is the DP comfortable with diffusion in post or must it be done with on camera filtration, will we be on soundstages or in remote outdoor locations, how much budget/time for post, HD or SD dailies and do they need to be color corrected - what format and how many - how quickly, etc.

Once I understand the parameters of the project I design a workflow optimized for efficiency and practicality. Casey suggests a customized data cart which I agree is essential - I actually went a step further and designed a van with on board power and much more but it can be done quite nicely on a cart.

During the first couple of days of a longer show I keep close to the DP and the rest of the camera department and get some footy to the post supe to make sure all is going according to plan. If they can afford my rate they can keep me as long as they want but if the DP and 1st AC are RedOne savvy and I feel comfortable with the data wrangler following my protocols my work is mostly done.

In summary, I feel a DAS working in sync with the Post (and perhaps VFX) Supervisor can save production a great deal of money and stress by designing a well thought out pipeline. Like a post supe, as the DAS, I want to have a budget for hiring gear and personnel to meet specs whether it be a UPS for the copy drives or an on set colorist for dailies and LUT management. Smart choices in Pre-pro should save production more than they are paying me or I am not doing my job - that is the crux of the biscuit.

Am I further muddying the waters? Probably. The key point is that to achieve more of the theoretical advantages of digital over film or tape you need to stop trying to force feed a data centric model through a pipeline designed for tape or film.

Cheers -
Blair S. Paulsen - 4K Ninja, Road Grader, alacritymedia(dot)com
 
arrinick said:
If you can't expose properly on any camera system without help, you have no right to charge people money as a DP. Exposure, and lighting ratios are what makes one a DP. Whether you use math, or go by eye or feel, lighting a scene is at the center of the job. I have had the discussion of what are dits for with many fellow DPs, and we all take great offense when some dit makes an issue of how we are exposing a scene.

Protecting highlights is a great concept, but whether it's film, varicam, or Red, sometimes you want shit to burn out. Having some doofus come screaming at you in front of the producer that you are clipping the sky is not helpfull. At the risk of offending dits, many of them inflate the level of their responsibility, and try to exert more control than they have. Black shading 3 or 4 times a day is not necessary, but I see it done all the time. They try to build mystery into their job so that they are perceived as essential.

As a Dp, if I have the choice between a dit and an extra grip, or a dit and an extra 6k, i'll lose the dit every time. Give me a good loader, that can back up data responsibly, fill out my time card, and cover the second when necessary any day of the week.

That's just my opinion, mileage may vary,

Nick
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hear hear.
 
Respect, set etiquette and awareness

Respect, set etiquette and awareness

A DP with plenty of experience on the RedOne should need very little input from a DIT (or whatever acronym you prefer). A DP who is unfamiliar with the exposure tools, view spaces, monitor tap vs RAW vagaries and other issues specific to the RedOne and the specific firmware build in use needs more. An experienced DIT should be able to distill the mass of information into just those reference points the DP needs to get the intended results.

My advice, establish a rapport with the DP at prep if possible, if not, then in the first hour on set. Limit discussions about choice of stop to private interchanges with the DP until you are absolutely sure they are OK with including others (often the gaffer). IMHO your job as the DIT (or DAS, etc) is to make the DP look good. If you do that quietly and professionally he/she will ask for you on other gigs. If he/she is really talented and not insecure they will give you your props - those positive comments will carry more weight than anything you can say or do on set in front of others. If they aren't very good or just jerks, you don't want to take calls on their crews in the future anyway.

I have had the good fortune of working with some terrific DPs and once I have answered any questions they have I generally stay out of their hair unless they feel like chatting. One thing I still do though, no matter how good they are, is stay vigilant - in one case I saved a DPs behind when they failed to notice a shift in the blocking had resulted in almost a full stop less light on the lead. I can assure you the only person on set that knew I had pointed this out was the DP who, after I whispered in his ear, casually walked over to camera and had the 1st open up the lens. He shot me a subtle nod and I scooted off to crafty for a snack.
 
Blair you are 100% right on... I just said that DAS has to became an engineer, with an etiquette that will allow him more respect in PREPRODUCTION and much less on set...

On set is the DoP and the director... period... all, the DoP, needs is the ASA of his "emulsion", thats its in use on camera... So a 320 for daylight and 250 for night "low light" shots is all he needs for RED... plus a small chatting BEFORE shooting starts about the range of exposure... thats it.

A DAS or a DpE or Ninja... call it however you like, its needed when the word "digital" surfaces in the producer vocabulary... and its a need more for the producer rather than DoP... the problem is that the producer doesn't know it... and he thing that this position is another cost... that has to be eliminated...

In twenty years the DAS or Ninja or DpE would not needed probably, but today is the guy that will make the transition from film/video to digital cinema a streamlined process...
 
Alright, long Brook stream of consciousness time...

This has been a hot-button issue for a long time. I've yet to really put my thoughts down on paper, but I'm going to give it a go.

To start off, I must explain that I'm a local 600 Digital Imaging Technician. I wholeheartedly believe that we're talking about a camera position here... and I doubt I'll ever really be swayed from that opinion. Time may tell, but let me explain.

I'll also be speaking from experience on larger/union shows, but I'm not speaking on behalf of the union or anything like that. These are just opinions with a bit of my stream-of-conciousness built in.

To the best of my knowledge, these are the "duties" as they currently exist. Since none of this has been specifically outlined in the CBAs yet, it's all still up in the air. But as of today, this is how I've found it to be generally accepted on union jobs from experience.

A digital loader is merely a local 600 loader on the loader roster. This would be an individual with enough knowledge to handle properly backing up media and passing it onto post. They would also deal with the rest of the typical loader duties [timecards, running gear all over creation, getting coffee, plus a million other things]. It's very much an entry-level position, just as the typical loader position is.

The thing is, nobody is interested in creating another roster or scale for the "digital" loader position. As such, it's fairly limited in its breadth. While it works on smaller shoots that don't shoot as much material, you're not going to find somebody with enough knowledge and equipment to handle a high-speed, high-budget union shoot for $30/h. In the current environment, I don't think that the "digital loader" position can function on larger shoots.

The person in charge of this position is almost always expected to go above and beyond just "copying data" - something that seems conceptually simple to anybody who's ever used a computer. While the simplicity of the job is a myth in and of itself, I digress.

As this individual is asked to "tech" the camera, set up and interface with post and provide feedback and creative assistance to the director of photography, the position is no longer that of a loader. Not only are you talking about responsibilities above and beyond a loader's "pay grade," you're also looking at skills and knowledge that you'd be hard pressed to get from somebody at that price.

I've seen some shoots pay an individual at this level as a camera utility, since they don't need or want color correction on set. Camera utility [NOT digital utility] is an equivalent position to 1st assistant in pay and responsibility. Again, these duties are not specifically outlined per the union, this is merely experience talking.

The next step would be Digital Imaging Technician. This individual would do all of the aforementioned duties plus on-set color correction of some sort. Whether that's creating LUTs or merely previewing looks, you're talking about the actual manipulation of color. I think the belief that this is less important or now "obsolete" because of RAW cameras is sorely misguided. If anything, I think it's more important to have a DIT on RAW shoots. I'll explain in a bit.



So now you're looking at an individual with a lot of duties. This person has interfaced with post production and the director of photography before principle photography to advise on the on-set and post workflow and has done his or her best to create something that works for everybody. They've set up the camera appropriately and configured it in a way appropriate for the shoot and the personal preferences of the DP or operator. They've helped the camera assistants greatly during the camera prep to work out an effective on-set workflow... and they've also spent a good amount of time educating the assistants on the camera from a technical and physical perspective [more on this later].

On the day, you're talking about a person who will handle all of the data on set. Whether it's one camera or five, they're backing up all of the media and confirming it. Simultaneously they must be on set to advise the DP on light levels, ratios, fill levels, exposure and camera behavior. They're a translator between the shot in the DP's head and what the camera needs to make that image. Even on shoots where the DP "knows the camera", the person will always be able to assist in creating the look that the DP is after... before color correction has ever come into play. They're also there to blow the magic whistle when the camera just isn't getting what it needs. It's a position that melds the creative with the technical.

When the camera explodes, the person must be there to "fix" the problem. Whether that's preemptively making sure that the camera doesn't overheat, checking footage from abnormal noise characteristics or merely standing by to clean up the mess when the camera takes a dump, it's one of the most important responsibilities this person has. This person can be the difference between a problem taking down a shoot for a few hours at a time... or for two minutes. Why isn't it booting? Why does the screen look like this? What does this symbol mean? Is that a normal noise? Can it do this? Is that supposed to be there? You name it.

It's not just cleaning up the mess - it's preventative. This person must know when it's getting too hot, when the light levels are too low, when the accessories are causing a problem, you name it.

After footage has been shot, you're looking at a person who needs to be able to back up all of their footage effectively . They have to know that the footage is safe. They need to have an effective workflow to keep everything moving. There is no messing around with this part of the day - the footage is paramount. But at the same time, they have to be effective in this position. They need to be fast, thorough and deliberate. They need to know when there is a problem and they need to know how to fix it. They need to know when to blow the whistle and how hard. Who do you talk to? How do you describe the problem? Can it be solved? Does everything need to stop? Do we need that take? Do I get the DP over here or the 1st AC? What if the producer's looking over your shoulder? Did that hard drive just crash? Where is that file? Do we need to switch bodies out? So much can be told from the footage of this camera just by looking at it. Is there a dropped or damaged frame of some kind? The mere look of the problem can tell you what piece of hardware failed. Hell, the actual noise characteristics of the footage at +5 stops can tell you about the camera and how it's behaving given the current conditions.

And with all of that... the person must be able to do it while spending most of their time on set. They need to be fast and mobile. It's the fourth location move of the day, are you on the truck before the camera carts are? This person must be on top of the set just as any other member of the crew... and they have to plan their duties and responsibilities accordingly. And at the end of the day? I don't care if it's a 7 camera day, that person should be wrapped with the rest of camera. Unless there has been a catastrophic problem, there's never a reason for significant overtime for this person. If it takes the person an hour after wrap, they have a bad workflow or inadequate hardware. If they're holding electric or transpo behind... well...

With all of those responsibilities, this person is just now getting into color correction. Whether the on-set color correction is merely to preview a look for the DP [to show him what is possible] or it's to create a LUT to keep image control in the hands of the camera department, there is an enormous color perspective to this position. Even if a production thinks they don't "need" on-set color correction, creating looks for the DP and gaffer enables them in a creative way. It's instant feedback. It's understanding why that wasn't enough light, why that kind of ratio will cause more noise than this kind of ratio. It's the "put up or shut up" half of this person's never-ending quest for more light.

[continued...]
 
So whatever you want to call this position, there sure is a lot of responsibility. This is just the tip of the iceberg. Whether you want to call it DMT, DCE, DAM, DIT... it doesn't matter. But at this point, in my opinion, this is an inherently and undeniably camera position. And for today, the best name for this position is "Digital Imaging Technician". I'll explain.


First, let's talk about this from a producer's perspective. They're looking for somebody to take care of these duties. While it may just look like "copying and pasting" to them, as you can see above, there's a HUGE amount of responsibility, equipment and knowledge required in the position. But since the details haven't been sorted out with the unions, a lot of producers find themselves looking to pay somebody less than a DIT might command [particularly with equipment rental]. Since the details haven't been sorted as far as the union is concerned, they'll often find somebody who is willing to take on [at least a part of] the challenge for a given amount of money. Whether it's a flat, a 10h minimum or an hourly rate, that person will often get offered less than DIT scale... even on a union shoot.

Since it's a union shoot but the position doesn't seem inherently uniony just yet ["we don't need on-set color correction so we don't need a DIT!"], they hire somebody who's willing to do it for $38 and call them a "Data Wrangler" or any of the other invented terms. Now you've got a person [either non-union or union out of class] on set doing duties at a cut rate under a made up title. They aren't getting their healthcare hours and IATSE isn't getting their percentage. It's not a good thing. While this is a very brief and incomplete glimpse at the issue, it is an issue. There's a reason I "just say no" to data wrangling. Don't. Do. It.


Another thing that can happen is that a producer will look for a loader to take on all of these duties. It's a union position, yes, but you're looking at a person doing way more than their position covers. While [ironically] a DIT doing these duties is technically outperforming their position, the concept of a loader handling this baffles and scares me. While the future will result in loaders with the skills and training [and equipment!!!] necessary to handle the backing up of data on a large project, that will only come with time and training.

I must admit that it's sort of a scary proposition to me at this point... but that's merely survivalism kicking in. Where will they get the gear? Rent it from a company that has created a "download station"? Now all you're doing is stripping a hefty equipment rental from an individual with tons of money in on it because a company has tried to create a "standard" where there isn't one. Everybody's trying to get in on this right now. I view the equipment package for a DIT in the same way as I look at a Steadicam to an operator... in personalization and investment/rental rate. Remember that I'm looking at it from the high-end production perspective where a laptop just doesn't cut it [particularly in a year when data rates are 2-5x higher than they are today].

There will come a time when the digital loader position is adequate to cover the "downloading" of footage. I don't think that day is upon us, at least as far as higher-end production is concerned. The knowledge, training and equipment just isn't out there yet. But it will be someday.


So why - in today's world - do I think that the Digital Imaging Technician position covers the duties best? The first is the obvious connection: we're talking about the "digital camera expert" on set. We're also talking about on-set color correction. I'll leave those be.

There is an ongoing argument between local 600 [camera] and local 695 [sound] about who should have the responsibility. As I stated at the beginning of this post, I think that the position is inherently camera... period.

First off, there's the playback issue. As a local 600 DIT, I do not do playback. Period. If somebody asks for playback, I direct them to sound. It's outside of what I'm able to do.

But what about color correction and confirming clips? It's inherently playback. You are playing back pre-recorded footage... no denying that. It's a little like when the "tape check" functionality of cameras was under contention between the unions. Ultimately camera was "allowed" to be in control of tape checks on a camera. But since we're talking about more extended playback and color correction of footage, this is a bit more of a hot topic.

If I'm looking at footage for myself to confirm it or analyze it, I personally think that's fine. If I'm showing it to the DP with LUTs applied or we're watching footage to dial in our look for a given scene, I also think that's fine. Again, I'm speaking from personal experience and not from the official union perspective on the issue.

But what if the director wants to see it? What if they want me to put a monitor over by video village to show them this stuff? Can't do it. Won't do it. Frankly, I'm not interested in it. I went into DITing because I love camera and image creation. That's my investment in this.

I do wonder about the difference between playing back a separately recorded source [VTR] versus looking at the actual recorded footage [DIT], but that's something I don't have enough knowledge on to discuss.

There's a local 695 playback engineer [VTR] guy on just about every commercial I do. We also have a 695 playback guy [or several] on Southland, for example. The same with features. On commercials it's generally playback for clients, agency and the director. On Southland, it's playback for featured screens [TVs on set, computers on set, etc.]. We don't do playback in the VTR sense on Southland.

I've sort of explained my stance on what I might or might not do on set, but I haven't explained why I think it's inherently camera. First off, the DIT position should never replace a 695 playback engineer. The duties that a DIT can perform for a production are simply not the same as what a playback engineer can do. A DIT who is doing playback is breaking the rules. I have enormous respect for 695 playback operators [my 695 "brothers"] and the DIT [or whatever you want to call it] position should never steal the job of a sound guy. In the same breath, a sound guy should never steal the job of a camera brother.

[continued...]
 
As for why the position is camera related, here are a few points.

First, I'll revisit an average prep for a job that I'm working. In addition to sorting our the workflows and my equipment as I mentioned above, I spend most of my time working with the camera assistants and DP. I'm giving the DP lens advice based on my knowledge of how different lenses perform on the RED versus how they perform on film. I'm showing the assistants the camera [since it's often their first time with it] and I'm giving tons of accessory and equipment recommendations. Since the RED is such an unusual beast when compared to a film camera [with a fairly established accessory package], there's a huge amount of physical tinkering at a prep. I'll make recommendations based on my experience. I'll show them how some setups work and why others will not. I'll explain the tricks I've found on previous shoots. I'll also use or build accessories of my own for them... a butt cap to protect the buttons on the back of the camera, for example. I'll pop the power button out since a lot of people shut the camera down by accident. I'll show them different ways to mount monitors or accessories that might help them. I'll show them how all the different pieces and parts fit together. It's not that it's a RED 101 class or that I'm trying to be a camera assistant, it's just that I have more experience with the RED than they might and it's another set of hemispheres on the job to build the best camera package possible.

There's also the technical side of it. While someday every assistant will know every camera system out there, that day is not today. I'll show the assistants how to change various settings. I'll show them how to reload. I'll explain in as much or as little detail any little thing about the camera that they want to know. We'll also work with each other to build an on-set workflow that works best with our given personalities. There's a LOT that happens during the camera prep between the assistants and I. The camera prep. :)

On set, I'm working with the director of photography and camera operators to make the best lighting and/or exposure decisions. I'll show them what they want and need to know to get the most out of the camera. All of this is before footage ever enters my hands. This is true even of DPs and operators that have tons of experience with the camera, though obviously to a lesser amount. Either way, it's a very involved position... at least on my sets. I understand that I do it differently than others, but this is a post from experience [and NOT from the official union perspective... just to reiterate].

Once the footage is shot, I'm doing my best to keep control in the hands of the camera department. I'm helping the DP to accomplish the second half of the equation - "developing" his footage. So why is a DIT just as important [if not more] on a RAW shoot? Because post can do a LOT with a RAW file. You can take the DP's vision and completely strip it. It's like a lab deciding to bleach bypass and push a DP's negative. Something like that would just never happen without the DP involved... so why should color be out of a DP's hands?

Sorting it all out on set not only helps the DP to see what he can and can't get away with with the camera, but also forces post's hand in processing the footage. While it doesn't literally prevent them from changing your look, it does very specifically show them what you and the DP had in mind. It keeps the control in the camera department. :)

Aside from all of that, since I am such a hands-on DIT, I spend a lot of time helping the camera assistants out. I understand that this is very uncommon and bends the rules. When we get spread thin, I'll be there to shove carts around, grab a case or accessory or help them out in whatever way they need. If the operator's shrugging the camera and I'm closest, I'm going to grab it. When the focus puller needs help, I'll be at the monitor backing him up [with that walkie on 6...]. And you know what? There've been days on numerous jobs when I've been bumped to camera operator. It's not common, but it does happen. To me, this position is a part of the creative camera process... and I can't imagine "DIT" [or whatever you want to call it] in any other local or by any other name. I'm in this for camera.

The unions are sorting it out and will be for a decent amount of time to come. But my vote lies with camera.
 
Brook, I am with you on this 100%. What you have described the position as is exactly what I do on shoots. The big difference is that I am not union. But nonetheless, I concur with your breakdown. I too am very hands on with the camera department. The DP of the feature I just did had RED experience but relied on me quite a bit to help him try to get the most from the camera. He was constantly pushing it, bordering on underexposure at times and he would ask if he could see the results with a quick correction and then decide if there was enough room to get the look he wanted. On this project, I also helped with video village a little bit, but I agree that it should remain a different entity. It's not the same as playing back a look you have created for the DP.

And I wholeheartedly agree with you about data workflow on set. A laptop DOES NOT cut it on larger projects. I have got by with one, but as you mentioned you have to be very efficient on set. Backing up data, visually inspecting it, working with DP on looks, etc. takes time and you have to allocate resources appropriately.

Good post Brook! FYI, I've opened up a discussion about data verification on my blog, as I think this is also an important aspect of things right now. As the unions get the position squared away, the insurance companies are evolving with what they require for data verification.
 
I am not union either, however, after over 50 commercials, 6 features and countless other RED shoots in the DIT role I can concur with much of your rant :) I could never walk onto set without at least one if not two MacPro Towers + monitoring solutions, RAID, LTO etc.

One thing I found interesting was your statement about the post facility having the ability with RAW to manipulate the image inconsistent of the DP's vision. This is why its so important to keep in constant communication with the post house before during and after the production. I personally create RSX files that are to be related to specific clips or scenes for every piece of REDCODE that is recorded. This way, when processing dailies there should be no question of why the shots come out under or over depending on what color space the post house accidentally uses or any other number of issues that could occur.
However, not being union I am often asked to process dailies which is why having the right gear for the job is so important! The last feature I just wrapped in Philly I was rockin 12fps transcodes in Clipfinder, backing up to LTO, editing scenes in FCP, burning dailies to a DVD, and copying media all simultaneously with a setup that Silverado Systems sent me with.
I also believe that assisting in Camera dept with whatever needs to be done at any given time is a must. Especially on features or longer form projects as you develop your small but close camera dept family the system you put in place in prep will be crucial day 35, hour 12 when you are scrambling to get those last shots. You do what you need to do, pick up for one another when one of you is having "that bad day" and push each other to do the best job possible.
DIT or whatever you want to call it technically holds a lot of meaning to the union folks as it should. I have my reasons for not being in the union which I will keep to myself, however, I absolutely agree, DIT is camera. No question.
 
My definition of a DIT: (noun) A knowledgeable person who helps DPs who dont have experience with digital imaging acquisition or a specific camera platform. Less and less needed after each day of shooting. Obsolete in 20 years. Also may be known as: 2nd AC, Nerd. :thumbup1:
 
So Brook, when are you going to start teaching classes / seminars on all things DIT related? You definitely have your digital ducks in a row.
 
Well Put sir. Thankyou for such a well structured (and might I say passionate) argument for what a DIT/DMT/DAS/Loader should be doing on set. I look forward to a time when more Producers/directors understand it too.


On jobs when I am sent out to manage the workflow for someone else, I cringe when I hear the cry for "Playback!" and then have to explain why I don't have time to be flipping through clips.
Funnily enough, after 50+ RED jobs, I got my first dedicated Playback/Video Village Guy the other day with a Hard disk recorder linked to the client monitors.
I breathed a sigh of relief, until the director complained about the image and demanded the footage be played back direct from the camera anyway!

(I couldnt see any difference between the two! At least none that should concern the producer)

I just left it up to the Focus Puller to flip through clips direct from the camera, and deal with the

"Next! Next! Back One! Last Shot!"s

Thanks again for a fantastic post, Brook.
 
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