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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 :)

Do DITs Have A Future?

H

hoylecd

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Over two years ago I posted a thread titled "A Digital Loader is not a DIT". Since than I've moved from Michigan to LA, became a Union DIT, and my views have certainly changed. Just like the job itself, I have evolved. I love working as a DIT, I take great pride in my job, and have had consistent work.

Recently, I've become increasingly concerned to the future of my profession. I've heard several accounts of major television shows only hiring a DIT for the pilot. A friend last week informed me that Disney has set a policy that DITs only work the first two episodes for any of their productions. And just this week I've had a job opportunity for a major network that would only pay for the first two episodes. As of today, that has dropped to one.

It feels more and more that DITs have a giant X over them, needing to be cut wherever possible. Perhaps I am just being paranoid. I'm not worried that DITs will be killed over night. Epic will roll out in big numbers, and those jobs will almost certainly need a DIT. But I personally feel the winds are changing, and that DITs everywhere should take notice.

So the question is: am I totally nuts? Believe me, I wouldn't doubt it as a possibility. Can anyone confirm this Disney rumor I heard? Has anyone else had similar experiences of working only an episode or two before a loader position is forced? And if the future is grim, what can be done now to prevent it?

Chris Hoyle
 
My opinion has evolved too. I used to think there is no way anyone in their right mind would choose to shoot a large scale job without a DIT.

As a local 600 DIT myself I can confirm that in many ways the world Is against us:

Producers don't want to pay
The Local is doing NOTHING to protect us
DP's often feel threatened or annoyed having a digital cinematography specialist around

My solution is twofold:
Educate producers
Stop DIT'ing and start shooting bigger jobs

You will find several trends in LA,
Uneducated "Digital Loaders" working at sub par loader rates
DP's and AC's who "hate digital"
The undercutters: people who offer to do everything for nothing: sync sound on set, generate iPad dailies, and plenty more for less money.

It gets old. Really old.

Where is the collective part of collective bargaining when it comes to the DIT classification?

General trend says:
Find a new way to work in the next 3 to 5 years.
 
I would argue that the DIT position is not the only one in jeopardy. Some commercials have scaled back on having 2nd ACs as well. Producers will always look to cut if there is any indication they can do without the position. It's a matter of education. Many producers don't know exactly what the role of DIT is these days, especially when the term is interchanged with a digital loader. I'm doing a workshop in a couple of weeks that's aimed squarely at producers. The goal is to educate them on what the modern day DIT's role is and how to determine if their project needs a DIT and what kit rentals may entail.

Not every job needs a DIT. There are times when DP and their camera team can achieve what they need to without one. It's knowing when you need one and when you don't that is important. To completely rule out the position because it is just perceived as an unnecessary expense is not a good approach. Producers need to look at the scope of their projects, the needs of their DP, and how much communication needs to happen between production and post. If producers were armed with accurate knowledge, and there were industry standards in place so they know what to expect from a DIT then this would probably be less of an issue. I truly believe that half the problem is a lot of people just don't know a lot about this crew position.

So, will the role go away. Not really. It may evolve. But there will always be a need for technically savvy people on set who can get the most out of the technology. It's probably up to those people to make sure the people that hire them know why they need to.
 
Other than one "who gets the most out of technology" what more specifically would a DIT do and how would you then define the other roles like loader? Or is the DIT role getting merged with other positions on smaller crews?
 
There is more work out there than there are decent DITs and there is no sign of this changing...... There is a misconception we are a 'luxury'. Either the job needs a DIT or it doesn't... very simple.

A lowly cinematographer filming at the top of a mountain waiting, for weeks on end, to a catch a rare glimpse of a snow leopard does not need a DIT, but they still need to do their homework (learning the strengths and weaknesses of the camera system and safe backup etc)

A production shooting with multiple cameras, with mixed formats, multiple frame rates, with audio would benefit immensely from having a talented DIT. There are huge time and cost savings to be made by getting things right up front and for those productions who view this as a luxury often end up paying dearly in post production or at worst end up with an inferior product.

The role is certainly evolving... on bigger jobs it is split up into many parts and often overlaps other roles in other departments.
For example features I like to be upfront with the DOP monitoring the live signal which passes through my grading system. I call this DIT Vision... where the DIT works as both as Technician and a Visual Engineer which is similar to the Outside Broadcast world for live TV shows etc. Looks can be created in line with the HDSDI and this feeds the entire video village. The LUT is saved and passed through to the DIT operating the Onset lab etc. Here the LUTs are burnt into dailies. This process communicates the DOPs intent onset through to post production.

The next point will upset a few folks but on some shows the DIT vision role is combined into playback.... I own a Qtake system and I feel very strongly about the benefit of such a development. QTake is an extremely powerful system and they have a shocking amount of developments in the pipeline that will further upset the status quo.
 
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DIT is evolving and Producers and DPs need to be better educated how DITs can benefit them or when they aren't needed.

I have more calls for work than I can handle, but I also only know a handful of people who I think are qualified to call themselves DIT and they stay busy too. Too many unqualified people out there hurting the DIT position.

600 raising the DIT rate higher than Operators is not helping us. Producers already complain we are too expensive. No reason to raise our rate higher than Operators. Keep them the same.


Dustin Cross
Local 600 DIT
 
Well said Steve. Local 600 (actually an international local) is the Cinematographers' Guild (union).

It covers :
DP's
AC's
Photographers
Publicists now
DIT's

It's part of IATSE, the international association of theatrical stage employees.

Being a DIT is a multifaceted position. Not only technical, but also a huge part of the job is maintaining relationships and communications Among various parts of the production, and keeping the gears turning on a digital production.

It's not "doomed" but it is being "endangered"
 
@Dustin - I'd say a rate increase across the board for operators and DIT's is in order.
I think more needs to be done to protect hiring practices for us here in Los Angeles.
I stay busy, and indeed when it is busy it's hard to recommend someone who is not up to par.
 
Dan,

We just got a small increase. On the latest rate card DIT is now about $2/hr more than Operator. I would also like to see more done to protect hiring practices, but I think rate increases is not helping. I think $58/hr is a good rate, so I can not complain about the rate.

I just operated a couple shots for a DP and he really liked my operating. Him and the producer asked me if I wanted to bump up to operator. I said sure, but told them it would actually be a $2/hr pay cut.


Dusty
 
How many shooting days have I been on where the production will spend the last few hours of the day frantically trying to cram in as many set-ups and takes as possible, because they can't go over 12 hours, so they just leave the camera running and do "rolling re-takes", and on wrap, the DIT is handed this giant pile of raw camera files to back-up and transcode, and the producers get upset because the DIT needs another hour or more to finish backing up and transcoding the last shots.

Also, usually not even the camera crew understands that the DIT cart can't move around as much as they do, both because it needs to be plugged in to AC power to do it's job, and the drives will crash if they're shaken while spinning, but of course the DP wants the DIT and the cart right there with the cameras for waveform monitoring, exposure check, camera matching, using the DIT's monitor for critical viewing etc.

So usually we're dealing with unrealistic expectations based on simple ignorance of the workflow, and that everyone is used to doing things a different way (tape or film), and are resistant to change.

Having said all that, I think we do need to find ways to add more value to what we do, I think closer collaboration with editorial, possibly start having the asst editor on-set, might be a start...

Joe Hedge
IATSE 600 DIT
Burbank, CA
 
Interesting thoughts Joe:

One thought: keep digital loaders doing that and train them as DIT apprentices.

DIT's should be helping the DP evaluate exposure, and set looks using a system like Truelight or DPlights on set.

Id love to see a DSMC specific onset color/metadata/mission control interface that blends RedCine X with live look adjustment like DPlights.

I'd call it :DSMC-CTRL or RedLight. Live look control and possibly frame capture via gigabit Ethernet interface. I'd pay for this software from Red.
 
Dan Kanes said:
Interesting thoughts Joe:

One thought: keep digital loaders doing that and train them as DIT apprentices.

DIT's should be helping the DP evaluate exposure, and set looks using a system like Truelight or DPlights on set.

Id love to see a DSMC specific onset color/metadata/mission control interface that blends RedCine X with live look adjustment like DPlights.

I'd call it :DSMC-CTRL or RedLight. Live look control and possibly frame capture via gigabit Ethernet interface. I'd pay for this software from Red.
Click to expand...

Light Iron is working on a "one ring to rule them all" application to do just that, not sure if it'll be available only on their Outpost carts, or to anyone who wants it, though
 
I don't find systems like Truelight or DPlights useful most of the time. Most cameras don't save the data at metadata and most post facilities don't know what to do with LUTS from set. So those systems end up creating work and not being as useful as they could be.

A system to tweek the look of the Red One sounds great, because it would be metadata and there is a post workflow, but What looks good on the monitor out of the Red One looks terrible in post and vice versa. Hopefully that is fixed in Epic.

Good tools for DIT on set and cameras that save the data as metadata and post tools that can use the metadata are teh biggest problem with the DIT position today.


Dusty
 
joe hedge said:
How many shooting days have I been on where the production will spend the last few hours of the day frantically trying to cram in as many set-ups and takes as possible, because they can't go over 12 hours, so they just leave the camera running and do "rolling re-takes", and on wrap, the DIT is handed this giant pile of raw camera files to back-up and transcode, and the producers get upset because the DIT needs another hour or more to finish backing up and transcoding the last shots.

Also, usually not even the camera crew understands that the DIT cart can't move around as much as they do, both because it needs to be plugged in to AC power to do it's job, and the drives will crash if they're shaken while spinning, but of course the DP wants the DIT and the cart right there with the cameras for waveform monitoring, exposure check, camera matching, using the DIT's monitor for critical viewing etc.

So usually we're dealing with unrealistic expectations based on simple ignorance of the workflow, and that everyone is used to doing things a different way (tape or film), and are resistant to change.

Having said all that, I think we do need to find ways to add more value to what we do, I think closer collaboration with editorial, possibly start having the asst editor on-set, might be a start...

Joe Hedge
IATSE 600 DIT
Burbank, CA
Click to expand...

Amen to that brother
 
Dustin Cross said:
I don't find systems like Truelight or DPlights useful most of the time. Most cameras don't save the data at metadata and most post facilities don't know what to do with LUTS from set. So those systems end up creating work and not being as useful as they could be.

A system to tweek the look of the Red One sounds great, because it would be metadata and there is a post workflow, but What looks good on the monitor out of the Red One looks terrible in post and vice versa. Hopefully that is fixed in Epic.

Good tools for DIT on set and cameras that save the data as metadata and post tools that can use the metadata are teh biggest problem with the DIT position today.


Dusty
Click to expand...


We are seeing an increasing number of DIT and post-on-set users with Resolve Lite. It's a free download from BMD website and handles all r3d including metadata which can be sent to the post house. It renders previews in QT or with additional license DNxHD very quickly to pass to the producer/director each day and while best on a MacPro works on an iMac or 17" MacBookPro.
Just another tool to help the DIT on set.
Peter
 
Dustin Cross said:
I don't find systems like Truelight or DPlights useful most of the time. Most cameras don't save the data at metadata and most post facilities don't know what to do with LUTS from set. So those systems end up creating work and not being as useful as they could be.

A system to tweek the look of the Red One sounds great, because it would be metadata and there is a post workflow, but What looks good on the monitor out of the Red One looks terrible in post and vice versa. Hopefully that is fixed in Epic.

Good tools for DIT on set and cameras that save the data as metadata and post tools that can use the metadata are teh biggest problem with the DIT position today.


Dusty
Click to expand...

I have to disagree with many things said here, at least in LA, ASC CDL from a DPlights system is a standard for many episodic shows.

As far as R1 color - this shouldnt be the case, it should be (fairly) easy to achieve cohesion from set to post - in fact that's our job. Granted, it's easier with epic and RC2/rg2 or redlogfilm options in camera, but that's definitely one of my most requested responsibilities - give us a decent level of cohesion.
 
I don't DIT shows...
As in follow them

I do superwise the workflows and set up individual solutions for shows, though.
And usually there is DIT on set.

However, I think as technologies ieolve into more non-destructive signalchains, the DPs start to get a deeper knowledge about the cameras, as they used to have about filmstocks, the DIT will disappear and be replaced with a datawrangler.
Currently I see that as a non-option, but a couple of years down I am sure that will be the case.

Of course it is a budget-question, but as it is, I save productions for costs, by giving solid technical and signal solutions that work all the way home.
The mess aquired without project-specific guidelines on large form, is far more expensive than me.
Still...

My main function (in this context) is to communicate with all and set up technically good solutions that cover practical and artistical needs.

but I am sure times will change and the DIT will become a paranthese in film-history.
And I say that without diminisheng the practical function I see that I currently have.

I shoot all my own stuff withot a DIT
Let's say that is symptomatic... :)
 
DIT is all about the KIT - Invest all your pay in your KIT and you will never stop working.

DIT WITH KIT IS GOLDEN - We preach/teach our clients to WORSHIP DIT. For DIT is all powerful and
"one day lost is worth the cost"

$@DIT=KIT
 
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