FYI, DIT is a dead job now.

What a ill-informed statement. There are so many levels of production where this is not true. There are many where it is true. But saying that regarding a 2 camera music video shot on red epic at 5k 120fps is silly. Remember, all productions are not the same, and all are not in your realm of experience. The division of labor on a fully crewed well-run set keeps everything moving smoothly, saves time, and is more productive.
 
robmneilson said:
DIT's job is dead until an overtasked AC screws up a footage dump and you lose half your day.
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I do a lot of DIT work, mostly because I've never lost a frame of footage. However, it surprises me how so many people don't know how to work with what comes off a camera (especially DVCPRO HD footage). I've been around plenty of shoots that thought that a DITs job could be handled by some intern or volunteer, only to lose an entire shooting day's worth of footage.
 
txdp said:
But saying that regarding a 2 camera music video shot on red epic at 5k 120fps is silly...
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I've worked on such sets. If a fully staffed traditional camera department (Firsts and Seconds for each camera and a Loader, plus Video Assist if playback is needed) is not capable of handling everything needed there, then they are not qualified. DIT was a stopgap position needed when not everyone was up to speed on digital technology and is now obsolete.

By the way, a Loader is not a DIT. A very annoying tendency lately is to mix up those job titles.
 
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What about a show that incorporates a lot of different looks, and/or the DP isn't available to supervise color correction? AC's aren't there to build LUT's. Sure, we didn't have that luxury in the film days, but these ain't those days.
 
CharlesPapert said:
What about a show that incorporates a lot of different looks, and/or the DP isn't available to supervise color correction?
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A DIT shouldn't be hired to fill in for a DP who isn't capable of doing their job - a different DP should be hired. A DP who needs a DIT to function in the digital realm is not qualified to shoot digital, IMHO.

Building LUTs should be part of the DP's prep, and applying those LUTs for one light dailies during shooting is easily done by the Loader. After principal photography is over, the colorist takes over image manipulation and should be capable of doing so whether the DP is there looking over their shoulder or not.
 
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I've had an AC deal with DIT duties often, but if its a big budget job I would have someone hired just to deal with the footage dumping. Their day rate is easily afforded compared to the money being spent on the production.
 
robmneilson said:
I've had an AC deal with DIT duties often, but if its a big budget job I would have someone hired just to deal with the footage dumping. Their day rate is easily afforded compared to the money being spent on the production.
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That's a Loader, not a DIT.
 
I think it's all semantics because union jobs of specific names and descriptions aren't exactly going away from what I've seen, and non-union jobs have always been a pale imitation when it comes to who does what under which title.

I don't care what you call them, but there needs to be someone on set who knows how to download footage from a camera, back it up properly, and be well-versed in best practices for dealing with that massive amount of digital data. And let me tell you, I haven't seen a whole lot of competency in that area in my experience.
 
robmneilson said:
Should a DIT not be doing that job as well? Especially considering their job is dead?
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Sure, if you want to pay your Loader way too much. A true DIT makes more than the 1st ACs. A Loader makes much less.

A Loader is necessary position. A DIT is not. Loaders should not be called DITs.
 
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Eh, if its non union you can usually negotiate a day rate that works for the production and DIT, without having to get a mouth breather.
 
If you sit there dragging and dropping to transfer files, you are not a DIT.

If you don't know color theory, you are not a DIT.

If you cannot read a histogram, you are not a DIT.

If you can't setups like detail, noise reduction, secondary color correction in the camera in every scene, you are not a DIT.

If you can't match whole material on set instead of "fixing everything in post", you are not a DIT.

If you can't record the proper signal - so you could use as much information in post as you can, you are not a DIT.

If you never use a gray card, guess what, you don't know why you should use a gray card, and you are not a DIT.

If you can't advise on exposure, you are not a DIT.

If your DP does not respect your opinion, you are not a DIT.

If you color on set, yet don't/can't calibrate your own monitor, you are not a DIT.

If you are not the consultant on set for your camera crew, you are not a DIT.

If producers are more excited over your rate than your work, you are not a DIT.



A DIT is a person who is competent in data management, look creation, and giving knowledgable advice to the DP on ways to get the best image possible





LUTs R US....
 
nothing said:
I
By the way, a Loader is not a DIT. A very annoying tendency lately is to mix up those job titles.
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But what would be a loader's job on a set with a RED (besides slating)?
"Loading" memory cards into the camera?

Here in Germany the DIT is considered the new loader.

Frank
 
So it's save to say, the loader's job is, to dump the material from the card/drive and maybe making backups, while the DIT is responsible for the the digital camera and to creatively or technically manipulate the resulting image, but not data management?
 
DITs may do data management, but it's not their sole responsibility. Someone who just dumps footage is a loader. A DIT should be able to provide one-lights, create different transcodes for dailies, editing, VFX, etc., act as a consultant for the camera team(s) on best practices for the camera the production is using, create LUTs....not an exhaustive list, but an idea of what can be required. The DIT is not the new loader (that's still a loader, or a "digital loader" according to Local 600), the DIT is the new film lab.
 
Here's a thought (call me crazy if you'd like): You're clearly trying to make a point, and it could be valid, maybe take the time to explain why you consider the DIT to be obsolete? I get what you're saying, but the way you've presented your "case" comes off a bit strange.

As far as the statement goes--as long as digital formats exist, will always be necessary to those who decide that they are. Somewhat similar to the Second AC position, these days, because unless it's a major production you RARELY see a second hanging around.
 
Postmaster said:
So it's save to say, the loader's job is, to dump the material from the card/drive and maybe making backups, while the DIT is responsible for the the digital camera and to creatively or technically manipulate the resulting image, but not data management?
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Like a lot of things in this industry, the definitions and details are becoming mushy. When you think "DIT", and for that matter when most producers think DIT, they're thinking "the guy that makes sure we have all of our footage duplicated or my head rolls". If I remember right, DIT wasn't supposed to be this at first, but it's all sort of rolled into itself.

I don't think there's a problem with that. The reality is that there should be someone doing data management and just that. Anyone that can describe to you the physical illness that sweeps your body when you realize that you've lost footage on a budgeted production would probably agree with me, one hundred.

Shoot... any production. lol
 
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