Digital Imaging Technician based in Amsterdam, The Netherlands.
Born in The Netherlands in 1994. I'm working as a Digital Imaging Technician for a few years now. I’ve been working on different kind of jobs offering data management, on-set CDL grade and transcodes for editorial and dailies. Learning from each one of them while enhancing my profession.
I’m very passionate about digital cinema and I strongly believe that the technical part of the digital cinema cameras is getting even more complicated in the next few years so the role of the digital imaging technician on set will become even more important. The DIT ensures full safety of the footage from set to post and makes sure that the workflow functions seamlessly saving the production time and money.
for large files transfer and/or viewing dailies Server
mobile 4G network LTE Router
POWER
portable battery 3000W Generator
portable 1000W Generator
ups back-up power Power Box
MISCELLANEOUS
X-Rite i1 Display Pro Monitor calibration
SDI video distribution amplifier, 2x out Video DA
SDI video distribution amplifier, 8x out Video DA
On set
DIT Set data transfer, transcoding and grading on location
Why creating dailies is a data management activity on set.
Production and post-production
While handling source media is mainly considered to be an on-set activity nowadays, creating the dailies is sometimes still considered a "facility activity". While some argue that this not only has traditional reasons, there are a few arguments for moving the dailies creation further to the camera and performing it on set.
The removal of the lab with digital cinematography led to some major shifts in the production process. While for practical reasons the lab traditionally split "production" and "post-production" into different activities, teams, and locations, this is not necessary any more in projects with digital cameras. Quickly a lot of tasks originally being part of post-production were moved to the film set. Dealing with files and folder structures, creating backups of media and metadata, and sometimes even previewing a digital look and doing a quick QC on set became new job responsibilities on set, although such tasks formerly were solely happening in the lab and post-production facilities.
Benefit from the DP’s creative input
Dailies creation in a facility or lab has never been overseen by the DP – simply because of the different locations. But with the DP in fact being responsible for the quality of the footage created during a shooting day, it can be beneficial to also have the final conversion steps in the dailies creation process under his responsibility. While the "log" or RAW footage coming from cameras may not reflect the full creative intent of the DP yet, applying and adjusting a digital look can help to transport the full intent into post production.
With all ingredients being at hand on the film set (the source media, look metadata, and with the DIT a capable operator), creating dailies with a digital look under the eye of the DP can result in a much more consistent creative outcome.
Completeness of work
Keeping track of hundreds of clips on various camera cards and several backup hard drives from multiple cameras every day is the most important goal of the data management activity on set. Making the dailies creation process part of this activity ensures that the dailies reflect the complete outcome of the shooting day – and on the other hand allow for an additional cross-check that all camera footage is backed up securely.
Maintaining the association between actual takes, the source files from cameras, and the created dailies early on improves the robustness of the entire data management process and further reduces risk of data loss.
Transfer over the internet
If early access to material for viewing is a requirement, and the internet is the means of transportation, compressed media created directly on set is the fastest way to get material off set. If you compare a 2K ARRIRAW clip with a whopping 10.000 MB/min and a 720p H.264 clip with at roughly 20 MB/min – that's about 0.2% of data to be transferred.
So performing the transcoding of source media on set is the only way to enable quick transfer from location.
Benefit from an on-situation process
In the time-pressing environment of work on set not everything goes as planned. In the event of unexpected plan changes, unclear communication, or simply small mistakes it's very helpful to have everyone in place to solve problems in direct communication. As long as everyone from the crew is still available it's much easier to clarify a mixed up scene name for the dailies creation directly on set instead of carrying such an error in file names and metadata throughout the entire post-production with potentially costly consequences.
Maintaining the association between actual takes, the source files from cameras, and the created dailies early on improves the robustness of the entire data management process and further reduces risk of data loss.
The DIT usually has all the gear, data, and knowledge already with him on set to perform this task as part of his responsibility of data management. In the end, the dailies material is also just data. When managed in a proper process together with the source media, it enables all the outlined benefits that come from having high quality media material already very close to the camera – at relatively small extra effort.
The earlier is the better
Being able to judge the work results of a shooting day as early as possible has its value for almost every production. It's not only for the DP's daily review of his work, but also for the studio or production team being happy to see the progress on location. And often editing is happening already during shooting, so having footage in an editing application early on gives confidence that a scene will work when edited together.
The camera footage is loaded already through computers on or near set, so transcoding the source material on these machines can be easily made one more integrated step of the data management activity.
