DIT- digital image technician service in uae

Digital imaging technicians (DITs) help Director of photography D.O.P with the digital knowhow of the camera.

They advise the DoP on contrast, brightness and the effects of under or over-exposure, as these constraints are different from shooting with film. They also advise the camera crew on shots in progress, reporting any soft focus, framing issues or unwanted reflections and shadows.

They do quality control checks on the recorded material. Most digital footage on professional shoots is shot raw, which means it has no colour baked in and the colour is applied in post-production. DITs apply colour to the raw footage to give an idea of how it will look. And they might be asked to put it into a viewable file so the director can watch it on a tablet on the way home.

Key responsibility

• Responsible to gather media and rushes from camera, copy and backup.

• Check footage for issues & file corruption.

• Convert to editable proxies and data management.

• Camera Setup and LUT

• VFX workflow management

• Audio sync
  
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  We provide basic and advance DIT package to fit your production in all cities of UAE. For more information.

Most people think that working as a DIT is just dumping files but a lot more goes into it. It’s a lot more extensive, including applying Look Up Tables (LUTs), setting up the post-production workflow and providing quality control for the shoot.

“Additionally, when backing up footage and creating proxies, there are a lot of steps. You start the process on one batch of files, then later a separate batch when a new media card arrives. Most people don’t understand the juggling act that working as a DIT is.”

DIT & my dit cart

DIT - Digital Image Technician

A DIT (Digital Imaging Technician) is responsible for assisting the DP by controlling image quality, troubleshooting, on-set color correction, and managing production workflow. 

ON SET DIT

Real time 8k workflow, HDR & 360 VR monitoring system.

Key Responsibilities

• Managing media offloads

• Building LUTs with the DoP for the different scenes

• Applying those LUTs to transcoded ProRes footage for the offline edit

• Creating 720p dailies to be placed in DropBox for the above-the-line team (or “adults” as we sometimes call them) to follow along with the production.

My DIT cart

DIT cart is the basis for every digital imaging technician.

Assimilate Scratch
Davinci Resolve
Filmlight Daylight
Pomfort Silverstack

Basic DIT kit

www.pixelhouse.ae

PRELIGHT - Free on set color grading tool from Filmlight

FilmLight introduces Prelight, a freely licensed Mac OS X application designed to help DoPs and other professional creatives to author and review looks in pre-production and on-set.

Prelight’s simple-to-operate interface makes it a breeze to check how shots appear with looks or LUTs applied, and to import or add grading decisions that can be passed downstream. Images can be imported from almost any camera, and graded references exported in almost any format.

“What makes Prelight special is that it incorporates the full Truelight Colour Space technology you find in other FilmLight products,” said Peter Postma, Managing Director, FilmLight Americas. “So regardless of the camera, whether RAW or monitoring output, whether HDR or laptop screen, looks are applied consistently and grading decisions remain relevant even for final delivery.”

Prelight complements the FilmLight products FLIP and Daylight, which already provide full on-set and near-set grading capabilities. Many directors, working with a colourist early on or not, would just like more control over how the shot is going to look, and to be able to communicate that easily and visually to post-production.

The creative team can enhance the grade with simple but familiar tools, to create new reference stills as well as 3D LUTs or BLG (Baselight Linked Grade) files. With the render-free BLG workflow, the grades are non-destructive too: additional BLG metadata is created and attached to the stills. And the free licence for Baselight for Avid or NUKE, which makes it free to read and render BLG files, makes this workflow available to productions on any budget.

An extended licence can be purchased so that when these files arrive in the Baselight post house, or on a Daylight system for near-set dailies, the metadata is attached automatically and the BLG file becomes the basis of the grade, which can then be refined right up to the moment the deliverables are created. The additional licence also includes enhanced logging and monitoring capabilities.

As well as fitting in naturally with the BLG workflow, Prelight can fit into any post-production workflow because of the ability to export standard ASC CDL lists and third-party formatted 3D LUTs.

Integration with cameras, such as the ARRI Alexa SXT, means that Prelight can simplify the colour workflow dramatically by enabling fully automated metadata support all the way from the start of the production chain. Prelight can also interface to the majority of professional LUT boxes or monitors for real-time viewing.

“The production and post-production community is looking for ways to customise their workflows to guarantee the best scope for creativity,” Postma added. “Prelight is another exciting option to give simple but direct and reliable control. We are happy to offer the core features of Prelight, including the full grading and LUT toolkit, free, with very low cost options for connectivity and advanced metadata export.”