DIT rates

[Jeff Brue]

I'll go for DAM, the only thing is we've already got DC kind of certified with unions by the rates. DAM the unions and forgive the pun.

 

[Evin Grant]

DC as in Digital Capture? Do you know what the 600 Rate for a DC is?

 

[Zakaree Sandberg]

I say DM.

 

[Siva Kollipara]

How about "RED Digital Consultant"

 

[Conrad Hunziker]

On the R3D Data Manager we call it the DAS, digital acquisition specialist.

 

[Zakaree Sandberg]

PA, AD, AC, - DM only fits with the rest of the crowd

 

[Kaku Ito]

This is interesting. The thread is from two years ago. How much everybody is charging right now?

 

[Cüneyt Kaya]

350 usd/10 hrs + gear between 200-500 usd + a red worth $$$

 

[Zakaree Sandberg]

605/10 + gear

 

[Steve Sherrick]

Depends on market, and union/non-union. And this does make a big difference.

Union classifies DIT at the same rate level as operator, which means the rate is higher than say the official union designation for Digital Loader aka "Data Manager", "Red Tech", "Data Wrangler". Contracts are different as well. My rate under northeast commercial contract is significantly higher than say the feature rate. The reason of course being volume. On a commercial, you may work on a project for a couple of days, maybe a week if it's complex. But a feature, you'll probably have at least 4 weeks worth of work.

And to clarify the DIT description. At least when you're discussing this term in the context of the union, it means manipulating images on set, whether that is adjusting metadata values or using a paintbox, anything that affects the imaging and the video pipeline falls under the jurisdiction of the DIT. DITs in certain situations may also take on some of the duties of the digital loader, i.e. data management, however, the digital loader may not manipulate imagery unless they are reclassified under DIT and paid accordingly.

Now, I recognize that not everyone is working on union shoots, so there will be some terms used interchangeably. I also recognize that the rates are based on what those people are able to demand in their market and that there is no book value on it in those situations. So, i guess the answer in those cases would be, get what you need to make a living and charge for your gear if people are willing to pay for it. If people are not willing to pay for any gear, it puts a lot of pressure on you to stay current with technology, as well as maintain the tools you are using without any ROI. That seems like a tough approach.

By the way, in my opinion the reason the term DIT has producer's eyes rolling is because of the confusion that has been caused by people using the term incorrectly. If the term digital loader (which has an equivalent in the film world) had been used from the beginning, a lot of producers might have been able to make sense of that. Instead, there was a wide range of "DITs" some of whom should have been calling themselves something else and others who actually are qualified to be DIT (digital imaging technicians) because they have worked in that realm for years, including the transition into file based workflows, including RAW.

Sometimes standardization does have its place because it puts everyone on the same page and mitigates confusion.

 

[Andrew R Lewis]

Yes, I'm resurrecting a thread that started over eight years ago.

First we should define DIT. My experience is similar to what Steve said above(five years ago), I see a DIT as someone who manipulates the image per the DOP's and Directors liking for dailies, but also manages all of the incoming files including handling file redundancy.

For rates, I'd like to approach it from the angle of the Producer, Director, and DOP. What rate are your DIT's earning these days?

I am seeing:

$400 - $500 + $50-$250 kit per day for commercial work
$250 - $350 + $50-$100 kit per day for mid to large indie features

This is only anecdotal, from someone who hires for small productions, but still shoots and DIT's for commercial and small budget indies. Looking forward to your incite.

 

[Andrew R Lewis]

I found this thread through a google search and didn't realize until now that is was in Marketplace. Can a moderator relocate it or should I start a new thread in the appropriate place?

 

[Louis Maddalena]

Occassionaly I would DM on the side and I'd be in the $400/10 range, but when I do more DIT work It more like $600-700/10 range on the higher end shoots. But that was making sure the DP had the correct exposure, reviewing footage with DP, making color adjustments, copying of cards, backing up drives, exporting dailies, and at some times cutting selects.

Occasionally, I'd provide my own gear, back up cameras etc, and if that was the case I'd get a rental for that.

 

[Adrian Jebef]

Local 600 scale rate is about $675/10hrs. West Coast national commercial rate is usually $750/10 or higher. If full gear is required for monitoring, live color, dailies generation etc. you're looking at an additional $1000-1500 per shoot day.