Selecting A DIT Cart

Look into the Rock’n’Roller carts if you cant afford the magliner. The big one (R12) is only about $300. I only do DIT occasionally, and it works very well, and I fit it in my Toyota Camry

Look into the Rock’n’Roller carts if you cant afford the magliner. The big one (R12) is only about $300. I only do DIT occasionally, and it works very well, and I fit it in my Toyota Camry

I’m very interested on the subject!

My goal is to start jobs on set and finish them in the grading room, being able to color manage from start to finish and working tight with the DP from the very begin.

Unfortunately is not an easy thing to do, getting on set it’s hard (at least in my country) because the DIT is called on set either from the 1stAC or the production manager, and they don’t really care about color managing, in fact most of the time they only want a data manager.
Second because the DITs are very reluctant on teaching and showing the craft, I guess they are scared of losing power on the market.

I believe that data managing and basic DITing is not going to last a lot longer, but being able to color manage and throw off some really good looks on set is the future of this job.

I’m very interested on the subject!

My goal is to start jobs on set and finish them in the grading room, being able to color manage from start to finish and working tight with the DP from the very begin.

Unfortunately is not an easy thing to do, getting on set it’s hard (at least in my country) because the DIT is called on set either from the 1stAC or the production manager, and they don’t really care about color managing, in fact most of the time they only want a data manager.
Second because the DITs are very reluctant on teaching and showing the craft, I guess they are scared of losing power on the market.

I believe that data managing and basic DITing is not going to last a lot longer, but being able to color manage and throw off some really good looks on set is the future of this job.

Hi Nick, Those are nice inexpensive carts that can carry a good amount of gear. But when I was looking at them the wheels were still a little to unforgiving over the bumps for the hard drives and such. But for camera or monitor cases they are a great alternative. Thanks for mentioning them.

Hi Nick, Those are nice inexpensive carts that can carry a good amount of gear. But when I was looking at them the wheels were still a little to unforgiving over the bumps for the hard drives and such. But for camera or monitor cases they are a great alternative. Thanks for mentioning them.

It really all depends on the workflow decided for the project. When I’m working as a DIT for commercials the DP often is not involved much after they wrap the spot and the look ends up being decided by the agency’s creative director and the colorist they choose. Often the DPs and I build LUTs or CDLs for different scenes but if they are used or even make it to the colorist is anyones guess. Now with features (shorts or full) it is a entirely different game where the looks are added to dailies and sent along through the post process.

As freelancers it’s all about developing a good network with the people in the business. As a DIT you have to have successful workflows for a variety of different cameras or projects in general. Once the DPs know that you have their back and keep them safe with exposure, clipping or chrome noise and the production managers know you can be depended upon for fast safe handling of the media, you will work as much as you want. I always share my workflows with anyone who might ask. There is no secret to them, but having the focus and work ethic to stay on top of it time and time again is what separates you from your competition.

It really all depends on the workflow decided for the project. When I’m working as a DIT for commercials the DP often is not involved much after they wrap the spot and the look ends up being decided by the agency’s creative director and the colorist they choose. Often the DPs and I build LUTs or CDLs for different scenes but if they are used or even make it to the colorist is anyones guess. Now with features (shorts or full) it is a entirely different game where the looks are added to dailies and sent along through the post process.

As freelancers it’s all about developing a good network with the people in the business. As a DIT you have to have successful workflows for a variety of different cameras or projects in general. Once the DPs know that you have their back and keep them safe with exposure, clipping or chrome noise and the production managers know you can be depended upon for fast safe handling of the media, you will work as much as you want. I always share my workflows with anyone who might ask. There is no secret to them, but having the focus and work ethic to stay on top of it time and time again is what separates you from your competition.

Hi Rich!
I totally get what you saying and I can see you are open on sharing, I mean you are starting this insight series 🙂
I’m not sure how the market is in Tamp, Florida. I live in Italy and work mostly in the commercial filed, Italian market is not that big and the ADV market is even smaller, so i guess I’m fighting a completely different beast.
It’s true that once you build a trust network then finding work is a lot easier, it’s just really hard to brake the surface and get into it.

Getting back to your example about how much the dops are involved after the set is done, here is the same, and because of that I am actually stepping onto sets a bit more.

The Dops that i’m working with are pushing to have me to grade their jobs and are pushing more (unfortunately with a little luck so far) to have me on set, in that way we can start with the look on set and in a way starting a conversation with the agency right from the begin.

With them seeing the picture with a specific look on set monitor, then trough the edit and in the grading room, looks like it’s a little easier for the dop to have his/her vision getting through, even if they are not invited to grade afterwards.
I hope this make sense (sorry for my english 🙂 )

This is the path I’m trying to take, and that would help me also because i love grading but i love to be on set just as much 🙂

Hi Rich!
I totally get what you saying and I can see you are open on sharing, I mean you are starting this insight series 🙂
I’m not sure how the market is in Tamp, Florida. I live in Italy and work mostly in the commercial filed, Italian market is not that big and the ADV market is even smaller, so i guess I’m fighting a completely different beast.
It’s true that once you build a trust network then finding work is a lot easier, it’s just really hard to brake the surface and get into it.

Getting back to your example about how much the dops are involved after the set is done, here is the same, and because of that I am actually stepping onto sets a bit more.

The Dops that i’m working with are pushing to have me to grade their jobs and are pushing more (unfortunately with a little luck so far) to have me on set, in that way we can start with the look on set and in a way starting a conversation with the agency right from the begin.

With them seeing the picture with a specific look on set monitor, then trough the edit and in the grading room, looks like it’s a little easier for the dop to have his/her vision getting through, even if they are not invited to grade afterwards.
I hope this make sense (sorry for my english 🙂 )

This is the path I’m trying to take, and that would help me also because i love grading but i love to be on set just as much 🙂

Great stuff guys! Thanks for sharing.

Great stuff guys! Thanks for sharing.

Awesome Insight! I have that exact cart that my AC uses when I have my DP hat on. It is an awesome investment. Although I spend most of my time grading now, I love grip, DIT, AC tech stuff. Great addition to the Mixing Light library.

Awesome Insight! I have that exact cart that my AC uses when I have my DP hat on. It is an awesome investment. Although I spend most of my time grading now, I love grip, DIT, AC tech stuff. Great addition to the Mixing Light library.

Hi Mixing Light Community:

Thanks for the addition of the DIT series.

I have been following with close attention and excitement Robbin’s ACES and Patrick’s Color Shot Match and Conforming series. I believe that the addition of the DIT series to Mixing Light is going to fill in the gap in the color management series between what is happening today in digital film acquisition when the basic primary color grading of the film -The Look- is created and maintained throughout preproduction, production to post with the collaboration between the DIT and the cinematographer.

In my experience, this is the most common missing piece in today’s in-classes and online workshops in reference to color management on-set. When it is taught, most of the time, it’s treated as a separated-isolated image processing and not as a link between preproduction and post.

Since ACES has been embraced by camera manufactures and color grading software developers as the standard pipeline of the industry for color management interchange between professionals and the multi facility software systems involved in the production of the film, I would like to see in Mixing Light’s series a description and demonstration of ACES, (IDT, LMT, RRT and ODT) within ASC-CDL parameters, (SOP + Saturation). This from the perspective of preproduction, on-set, (production) color management to post, including demonstration of the equipment and softwares used by the DIT and examples of the workflows that establishes the basic primary color grading in creating the Look of the film.